The Development of Harmony Is Central in Western Art Music
This is a inquiry paper I wrote for my senior seminar at Rowan Academy.
Music is oftentimes called the "universal language" due to its ability to be understood and used throughout the world regardless of its manner. Western music is a perfect example of this, as information technology has non merely influenced the music of the rest of the world merely has also been influenced and changed drastically over fourth dimension past the aforementioned cultures it has influenced. 1 such contributor to our musical growth in the due west, and certainly the well-nigh significant contributor of them all, has been the influence brought to united states from the thousands of unique cultures and practices in Africa. The rich diversity of this continent and its many nations, both political and indigenous, has spread throughout the western globe through our own curiosity and by colonial force to create new Western styles and practices previously non possible, which is true for other non-Western cultures as well but does not influence our music to every bit deep of a degree or history.
The western globe, though rich in its own cultural history, has developed in much the same way as the rest of Earth's diverse and diverse cultures. While many strange cultures have evolved nether the influence of colonization from Europe and the Americas, our ain culture has as well evolved in part due to the contributions of other cultures. Immigration, faster methods of travel, and the digital connections of the globe accept helped all of united states of america develop and infringe from ane another. Among the diverse pieces of our culture that has developed and continues to develop due to advances in communication and convenience, none have inverse quite equally drastically as fine art. In our everyday lives the evolution of art tin be seen. Our electronic devices become more appealing to the senses, the plots of the stories nosotros tell change to include more contemporary issues, and fifty-fifty the dress we wear change to fit the current popular trends. Music is an important part of this always-changing civilization and is certainly no exception.
In order to sympathize the effects of fusion between two cultures, we must kickoff understand the cultures as private entities. To understand Western culture in terms of musicology, one of the kickoff questions we need to ask is what encompasses Western music. One of the most unique uses for Western music, which is seldom found in the traditional styles of the residue of the earth, is music written every bit fine art. Art music, as it is known, includes many of the works of classical Western composers such as Bach, Mozart, Haydn, and generally most of that entire genre which is and then cardinal to traditional Western culture. Art music, as well every bit other styles used for entertainment, were often documented on paper and passed on through this method whereas folk music in whatever culture is ordinarily passed on through oral means. This includes classical, pop, electronic, and other styles used for entertainment and art rather than traditional ceremonies. Another of import question to ask is what constitutes the Western world. In this modern day the Western earth is most ordinarily known to include Europe and the Americas due to their cultural similarities, but this was not always the instance. For the longest time the Western world only included Europe and parts of Eurasia, while the Americas were a completely different entity of their own with unlike cultural practices and, of course, their ain styles of music. Merely every bit time went on and European influences continued to consume the new world long after the colonial era, eventually Western music came to refer to the like, and often same, styles used in both regions.
Effigy 1: This map depicts the diverse cultural groupings seen throughout the earth
Effigy 2: This map depicts which regions encompass the "Western World"
Merely if the Americas are considered to be function of the Western earth, where practise the native cultures of these two continents categorize themselves? Similar its cultural counterparts around the globe, the music of the people native to the New World differs greatly depending on the tribe or nation in which it is used. Yet, all Native American music shares a distinct quality that both unites these various cultures equally i and separates itself from the outside earth. For example, in dissimilarity to the tribal music of West Africa most Native American music performs songs and accessory in unison, whereas virtually African music uses harmony and polyrhythms in which various people might sing or play dissimilar parts at once. Additionally, Native American string instruments are nonexistent. Since well-nigh of their music involves singing with instrumental accompaniment, most Native American instruments are percussion and flutes. Because of these many differences from the rest of the world, Native American music cannot exist considered Western and is its own entity.
Like the music of the Native American peoples, the music of what is known equally Latin America has its ain distinct identity unlike than that of its nearby Western neighbors. This is considering it is an expanse that has already been affected by African integration long before the rest of the Western world. It is speculated that this early absorption of cultures began due to the Moorish invasions of the Iberian Peninsula in the Middle Ages, and this seems similar a plausible explanation as this new culture clearly had time to develop and become its own identity. Information technology is neither Western nor Moorish, but some combination of the ii. Common Hispanic styles typically use African polyrhythms with Western lutes and wind instruments to create something unlike anything from either of its origins. If that wasn't unusual enough, Latin music continued to develop when it was brought to America and began to integrate with Native American ritualistic music to create various new styles, nearly notably mariachi which combines Western instruments and African rhythms with Native American dances. My conclusion from the assay of musical styles in the Americas that do not accept strictly European origin is that Western music is, for all intents and purposes, the styles of music originating from Europe primarily focused on fine art and entertainment.
Africa, though often falling under 1 identity, is an incredibly various location in terms of civilization. This culturally rich continent can be geographically split into 5 regions: North, South, East, West, and Central. North Africa culturally has more similarities, including much of their music, with the Heart East. The regions of Africa with their own distinct identity from the residue of the world are the other 4, which each have their ain characteristics split from each other as well. North Africa, which includes the countries bordering the Mediteranean Bounding main, is a strongly Muslim region with most if non all in common with the Arab countries of the Center Due east. Eastern Africa includes the nations on the Horn of Africa and the eastern coast of the continent, as well as the isle of Madagascar. This area, along with its similarities to the residual of Sub-Saharan Africa, has several distinct cultural traits more than in common with the Centre East and the southern regions of Asia. From a musical standpoint, one such example is the Taarab style of music used in Kenya and Tanzania. Taarab uses heavy influences from the Arab and Indian worlds and often makes use of their instruments and harmonics. However, this style is used exclusively in this region and is typically sung in the native Swahili language. Much of this influence is due to the region'southward proximity to the Arabian Peninsula and ease of access from South asia through maritime trade routes on the Indian Sea.
The other three regions of Africa, though later on on taking most of their cultural influence from the Western World due to the effects of colonization, have much of their own musical styles depending on the region and nation. Of particular note are such now common instruments equally the djembe, talking drum, and mbira (besides known every bit the thumb piano), as well equally lesser known or pre-evolved instruments such as the kora and bafalon. As the influences of these regions affected the Western World, the Western World afflicted their civilization as well. In West Africa in particular, much of the native civilization has been replaced with European languages and more mod versions of their native instruments, besides as Western instruments such as the guitar.
Adversely, the music of Western and Southern Africa has had a profound issue on the music of the Western Earth. This is usually credited to the Atlantic Slave Trade, which took Africans from these regions to the New Earth to work for little or zilch. As horrible equally this long and immoral industry was, it shaped the civilization of the Western World, and in item its music, to become what information technology is today.
Effigy 3: Map and information about the Atlantic Slave Trade. From Slave Merchandise From Africa to the Americas, by Dr. Neil A. Frankel, 2007, http://www.slaverysite.com/Torso/maps.htm. Copyright 2007, 2008 by Dr. Neil A. Frankel.
As you tin see in Figure 4 above, the Atlantic Slave Trade brought millions of Africans from the western coast of the continent beyond the sea to the New World. This New Globe would somewhen get an important section of the currently defined Western Earth due to its majority of European settlers, who brought with them their ain artistic musical traditions and instruments. Nevertheless, what I found most surprising discovery I made is that simply a small fraction of the slaves brought over the Atlantic Bounding main were placed in N America. According to Figure 4, only about one-half a 1000000 slaves were brought to what is now the United States of America. Betwixt 1650 and 1860, approximately xi 1000000 or more African slaves were brought to the North America, South America, and Europe from Africa. Half a million slaves only makes upwardly 1 twenty-secondof this figure. Almost half of them were brought to the Caribbean area Islands, and another half of them were brought simply to Brazil. I am not entirely sure if these figures leads to a heavier African influence on culture, but if that is the instance it would make sense.
One of the reasons why African slaves were primarily brought to these areas was because of the climate and proximity to ports where they could be brought in. The atmospheric condition in these regions immune plantations of some of the finest crops in the New World. Fifty-fifty in the vast mainland of the southern Usa, well-nigh African slaves worked along the Atlantic and Gulf Coasts. In one such region, the descendants of African slaves still remain and have maintained much of their culture from Africa. The Gullah people of South Carolina and Georgia nonetheless agree on to many of their traditions and community brought over from Africa and have even created their own creole language called Geechee. Examples of communities like this exist throughout Latin America every bit well.
In many scenarios throughout the Western World where African slaves were brought to work, they brought with them their cultural traditions. Or, at least, they tried to. Equally Richard A. Waterman (1952) explained, there are 2 factors that led to the preservation of African musical traditions despite the restrictions of the Blackness Codes.
There are two reasons why African musical elements have influenced the musical styles of the Americas. In the first identify, [African American] groups have remained relatively homogeneous with regard to culture patterns and remarkable so with respect to in-grouping solidarity. This has almost guaranteed the retention of any values non in conflict with the revailing Euro-American civilization blueprint. Second, there is plenty similarity between African and European music to permit musical syncretism. This has put some aspects of African musical way in the categort of traditions not destined to be forced out of existence because of their deviation from accepted norms. (Waterman 1952)
However, this retention did non last to such a high degree in many communities. Dissimilar the rare exception of the Gullah people, many African Americans today do not know what tribe or nation their ancestors came from, the civilisation they left backside, or even their last names. Much of it was suppressed by their masters, who aimed to either wipe out every trait that fabricated them human or to civilize them from their "savage" indigenous ways of life. Still, some of these traditions fabricated it through the slave era, and amid them was their music. But how did their music survive while other important parts of their cultures were left behind or forgotten? The primary answer lies within the uses of their music, not the music itself. African music was, and in most cases even so is, used in rituals and ceremonies. These rituals and ceremonies, although often serving diverse religious purposes, also uplifted the spirits of those who performed and listened to them. The morale heave brought on past African vocal and trip the light fantastic toe was extremely important for the people of Africa as they often lived without the amenities that the Western Earth had access to, and became even more of import for the slaves who had nowhere else to plow for peace of mind during their excruciatingly long and exhausting work days. Singing songs while doing their work allowed them to keep their spirits high in the only mode they could.
Memories of their traditional instruments were also brought over to the New World and recreated from new materials. The marimba, which is a fellow member of the xylophone family unit, is one such example and has very few structural differences from its African ancestors. According to Robert Garfias (1983), this is non simply a random occurrence.
The strongest evidence of the African origin of this marimba blazon rests on three factual elements: first, the name marimba is itself a word of Bantu origin; second, the rattan or sparse strip of wood that goes effectually one side of the instrument is commonly used throughout Africa; and third, the apply of the vibrating membrane attached to the wall of the resonator under each cardinal is also widespread in Africa. Although it is possible that any one of these elements might have occurred simultaneously in Africa and the New World, the existence of all three of these elements in the New Earth and in Africa presents too strong an argument for a celebrated connection to be swept aside as coincidence. (Garfias 1983)
One of those ancestors, the balafon, has existed in western Africa for centuries. It is believed to have existed since the 12th century, the rise of the Republic of mali Empire, and is still in employ today. Balafons typically apply gourds under tuned wooden keys, which are struck with mallets, to create a resonating sound. Modern western marimbas, which were adult based on the balafon and other like instruments by African slaves in Fundamental America, use hollow pipes instead of gourds and can utilize keys fabricated from a variety of different materials. Traditionally the balafon, similar almost African instruments, was used in rituals and considered a sacred instrument. Today, marimba ensembles be in Guatemala and United mexican states but the instruments is used in a variety of Western music. They are used in orchestras, concertos, jazz ensembles, current of air symphonies, and even marching bands.
In situations where they could not exist recreated, they were used as the basis for creating new instruments. One such instrument, the banjo, serves as a perfect case of a brand new instrument created by African slaves that can trace its lineage direct back to other African instruments. Its origins can exist traced back to several different African instruments, nearly notably among them the kora. The kora was, and yet is, a 21-string bridged harp used commonly in West Africa. One of its most notable features is the employ of a pulsate-like body created from a calabash cut in half and covered with a moo-cow peel membrane. This feature is recreated on the banjo to give information technology a more percussive sound compared to other Western stringed instruments. The banjo was developed past African slaves in the southern United States during the colonial era as a replacement for the similar instruments they used in Africa, including the kora. Even so, unlike the kora, the neck of this instrument includes a fretted fingerboard and tuning pegs much similar Western guitars, as well as five strings instead of twenty ane. Those features were added afterward and the original banjo had much more in common with its African ancestors. The banjo came to be the primary musical instrument in many styles of music, such as bluegrass and minstrel shows, which were besides adult past African Americans and fifty-fifty became important in traditional Irish folk music. The banjo is at present widely regarded as an important musical instrument in American culture and history, and many people are unaware of its roots in Africa.
Many more instruments than only the marimba and the banjo were created by slaves based on traditional African instruments. Even so, they as well created some entirely new instruments from scratch. When the resources to create their traditional instruments were not readily available, African slaves had to improvise. And improvise they did, creating instruments from whatsoever they could notice. A theorized case of this occurring can be dated back to 19th century littoral Peru, where African slaves working on the docks did non have much available to them or a lot of free time to find the resources they could use to create their traditional instruments. Using the shipping crates that they worked with on a daily basis they created the original versions of what would after become 1 of the most recognized and most widely used Afro-Peruvian instruments in the world, the cajon. Now the cajon is professionally manufactured by several different percussion companies and comes in dozens of varieties, made from different woods, with different cuts, and even with different muffling and snare features. This pulsate is as well commonly used in other Latin American countries, most notably Republic of cuba where it is known as the Cuban box drum. But outside of Latin American culture, information technology is often used as an accompaniment in a variety of Western musical styles and even as a replacement for other drums or parts of pulsate kits. The wooden box design of the cajon has also influenced the construction of similar instruments, such as wooden bongos which are oft referred to as "bongo cajons".
Portia K. Maultsby (2000) gives an fifty-fifty more detailed explanation for the creation of these instruments and the music played on them.
Early accounts of African functioning in the New Globe certificate the being of instruments clearly of African origin. Eventually Western European musical instruments began to infiltrate and boss African-America musical practise. Because the tempered tuning of these Western instruments differed from that of African instruments, [African American] musicians were forced the deviate from certain African principles of melodic structore. Challeneged to explore new ways of melodic expression, [African Americans] unconsciously created new ideas founded on existing African musical concepts. The issue was the emergence of "blue notes" (flatted third and 7th degrees) and the product of pitches uncommon to Western scale structures. (Maultsby 2000)
The three instruments I outlined all played roles in shaping the evolution of Western music as we know it today. The cajon is an important piece in many musical traditions with Latin flavor, the banjo has become an iconic relic of southern Americana, and the marimba has made its way into fifty-fifty the most traditional Western ensembles. All three of these instruments and many, many more trace their roots back to the Atlantic Slave Trade and the African continent. Still, the influence and assimilation of African musical culture into the music of the Western World extends fifty-fifty further than just a few new or altered instruments. The very styles, notations, rhythms, and usage of Western instruments themselves have inverse and expanded quickly simply like the rest of Western civilization. Behind every new musical tendency or dance craze is some form of influence from Western Africa. Through this influence, several new musical styles which utilise both Western and non-Western instruments take emerged.
One such style that has emerged from directly African influence, which is even taught in exclusive ensembles throughout American scholastic music programs, is jazz. Dissimilar slave communities in the Caribbean area and South America, African drumming by slaves in Due north America was not permitted due to the Black Codes. Since they did not have their drums, the slaves would retain their rhythmic traditions using "body percussion", clapping and stomping to brand music. After the Civil War, when slavery was finally abolished in the United States, many former African slaves were able to obtain surplus drums and fifes which, combined with the rhythmic traditions they maintained, led to the creation of a new musical mode which used African rhythms with Western instruments. Eventually, through even more than influences, this way evolved into what we at present know of today as jazz. Many forms of jazz adult for unlike reasons, the first of which was ragtime. The first ragtime shows were performed by African American minstrels on pianos in clubs and bars. At that time African Americans could now legally be educated in schools, simply were still unable to find work due to intense segregation. This led many of them to discover work as entertainers. Many other styles, such as blues, were as well directly developed by former African slaves using Western instruments with African rhythms. Contemporary pop music can also trace its roots back to jazz and African musicians. Stone and ringlet, for example, developed equally a fusion of African American jazz, blues, gospel, and other styles in the mid-xxth century and has go a mainstay in pop music since, influencing the creation of fifty-fifty more than styles such as difficult rock, the diverse styles of metal, funk, and techno. Nigh of these styles and the styles which evolved from them accept several traits in common. Some of these traits include polyrhythms, syncopation, and improvisation. Jazz and all of its forms afterward led to the development of more gimmicky popular music, such as funk and rock just to proper name a couple. There are so many styles of Western music today that can trace their roots back to jazz, and by extension Africa, that almost everything we heed to on a daily basis has some African influence.
Simply the influence of African musical traditions on the mural of Western music extends across the many new and diverse uses of instrumental music. The vocal traditions of the west take changed besides. Without African instruments during the Slave Trade, North American slaves had to rely on their voices also as body percussion. Vocal traditions in music from Africa already existed, merely they flourished in the Western World. African slaves would often use unaccompanied songs to keep their spirits high while working in the fields, which led to the composition of many pop folk songs and the extended use of African musical formats such as call and response, in which one person sings a verse and the other singers either repeat his words or sing another verse in response. These features are unremarkably used in all styles of music today, but nearly often in music with vocal parts. Even long after the slave merchandise ended, the influence of African music on the voices of Western singers did not end. Although a capella has existed in European churches for centuries, new styles and methods emerged within Africa itself in the mid-twentyth century. Solomon Linda, a Zulu musician from South Africa, composed and sang a song that would change the earth and its music. "Mbube", an a capella song virtually a Zulu male monarch, became a worldwide sensation for its unique harmonization not previously known outside of Africa. This song later went on the influence other similar songs and straight spin-offs, the well-nigh well-known of which being "The Panthera leo Sleeps This night" by The Tokens. For the first fourth dimension ever, even in the Western World, a capella was used for mainstream popular fine art music. This trend continued long after Solomon Linda's death, equally new a capella groups emerged throughout the world and other African a capella traditions, such every bit percussive singing and beat boxing, became widely used around the world. To this day, "Mbube" even so holds the record for the most pop song to ever come up out of Africa.
Although the influence of African music has had an immense bear on on the evolution of music in both the Western and non-Western worlds, its influence on the development of the music in Latin America has almost no match. Much of this could be due to the sheer number of African slaves that were brought to the Caribbean Islands and South America as opposed to anywhere else, making up more than 80 percent of all Africans brought over in the Atlantic Slave Trade. Another of import factor is that the dominant Western culture in these regions, primarily from the Iberian Peninsula, were already somewhat Africanized due to the Moorish invasions in the Middle Ages. These cultures were besides more willing to assimilate with other cultures and did not take the Black Codes like North America, and so African slaves had more freedom with their instruments. To this very day, many Latin Americans have some African beginnings and much of the cultures of the countries inside these regions bear similarities or direct relationships with traditions in Africa. Music is no exception to this fact, and plays an essential role in all Latin American traditions.
Among the many musical and cultural styles of Latin America bearing influences from Africa, one of the almost unique and symbolic is the samba lifestyle. I call this a lifestyle because it truly is a lifestyle, not simply a musical style. Samba, which is found in Brazil, carries with information technology a rich culture of mot but music merely also nutrient, trip the light fantastic, habiliment, and festivals found within Brazil's major cities. Although samba encompasses all of these traits and more, the music is the driving force behind it all. Samba music can trace its regional domestic origins back to the Bahia region of Brazil and Rio de Janeiro, where like many other new Western styles of music information technology developed as a result of the African Slave Trade. In the urban parts of Rio de Janeiro in the late 19th century, former African slaves that migrated from Bahia developed a music and dance styles based primarily off of the batuque style native to Cape verde, a small nation consisting of ten islands off the coast of Western Africa. In the city as opposed to Bahia, this mode came into contact and mixed with diverse styles already mutual inside the city, such equally polka and xote, to merge into something completely new. The result came to exist known every bit "Samba Schools", which comprised about 5,000 students each and competed against each other in carnivals with floats, dancers, and musicians. Samba has go a culture unlike any other seen throughout the world, and is certainly much more than a style of music.
The influence of African civilisation has also prevailed and flourished in the Caribbean Islands, some other region of Latin America in which a large percent of the African Slave Trade was used. Each island has their own distinct Afro-Latin culture, just among them two of the most interesting include the cultures of Cuba and Jamaica. In these two countries, the influence of African music and the evolution of new musical styles even influenced the evolution of styles in other regions. 1 such example, Cuban habanera, made its way up to New Orleans where it was a driving forcefulness in the development of what would come to be known as New Orleans Jazz. Another such case from Jamaica is the practice of "toasting", which eventually fabricated its way to New York and became what is now known as rapping. Additionally, this region was the origin of other styles and instruments at present common throughout the world such equally reggae, salsa, and the steel drum. The influence of African music on the Caribbean was so powerful that it influenced the music of other regions as well!
At this point, I feel that I have presented plenty of reputable show that the influence of African civilisation has had a tremendous touch on the development of mod Western music. However, African Americans are not the only ethnic minority inside the Western World. The United States of America is known worldwide equally a "melting pot" for significant reasons, every bit detailed in Figure 4 below.
Figure iv: The racial makeup of the United States according to the 2010 Census. Hispanics/Latinos of all races make up 16.iv% of this population.
Although African Americans make up the largest minority in the United States without much contest, other races do be and their populations are growing every day. Furthermore, these numbers only correspond i country in the Western Globe. In Canada, for example, the percentage of ethnically Asian citizens and immigrants in relation to the rest of their population is significantly larger than what it is in America at 6.8% when simply including Chinese, Filipino, Korean, Japanese, and Southeast Asian minorities. In another example, the South American land of Chile has one of the largest Arab populations outside of the Arab earth itself, a demographic which is so small in the United states of america that I put it in the "Other" category in Figure v. These populations could potentially have their ain influences on the music of the Western World as well, right?
The music of the other various regions and ethnicities of the world differs tremendously from the music of the Western World, and some of them do not even have anything in common with the music of Africa. One of the most unique musical cultures in the world, even today, may be the music that is native to Eastward and Southeast Asia. In the countries of Red china, the Koreas, and Japan, some of their music can even be considered to autumn under the traditionally Western category of art music. The fine art of theater is not something that was introduced to them after on, only rather something that adult naturally in these countries. The kabuki manner from Nippon, which combined musical and visual elements using interim and costumes with a musical ensemble, has existed since the 17th century as a means of entertainment. In Cathay, a similar theatrical style using shadow puppets has existed for centuries as well and has spread in different forms to other countries around the world, including a few in Europe. Music purely for amusement is not a new concept in Asia, so it would make sense to believe that in some style their music could have influenced the development of Western music in a way that rivals the music of Africa. This same concept tin be applied to the Middle East and Bharat, where several styles exist that are used purely for entertainment.
Although the music of the Asian continent has grown in popularity around the world, it has non meshed together with the music of the West in the aforementioned style as the music of Africa. This failure to digest may exist due to a variety of reasons, both due to the history of the continent itself and the differences between their history of immigration and that of the African slaves. On i mitt, the assimilation of African music into Western civilisation in North America was not a choice. Due to the Blackness Codes, they were not allowed to use the instruments that were familiar to them. Without the tools and means to stick to their own musical traditions, African slaves had to improvise with what they had bachelor to them. Due to these circumstances, they had to utilise what was available to them and that often but included Western instruments and materials, or in some cases just their own voices and bodies. The slaves in the Caribbean Islands and Due south America besides had to use what was available to them, but had the benefit of being assimilated into a culture that already had some African influences, thus making it easier to digest even farther. The music of Asia and the Middle Due east, however, had the practiced fortune of not beingness forced into a civilisation that was not their ain. With their own freedom of expression, they had no demand to improvise in Western civilization and therefore no need to integrate. But on the other hand, the exact reverse happened in the native lands of these ethnicities. As Western music continued to grow with the influence of Africa, these new styles spread around the globe. Even before this process began, the European nations were already colonizing much of the non-Western world and bringing their ain music with them, sometimes forcibly. The result of this, as seen in these nations of today, is a worldwide spread of Western art music without much variation from state to country. Now there is Western-way pop music in Nihon and South Korea, Bollywood-manner movies and shows in Bharat, and Western instruments taught and used throughout the globe. Even in Communist Red china, which at one bespeak outlawed all Western instruments, classical composers like Bach and Beethoven are ofttimes appreciated and regarded every bit their own. In other words, rather than Asian music influencing the West the West influenced Asian music.
In the Western World, particularly in the Americas, the music can hardly be called Western anymore. Instead of sticking to its traditional European roots, it has merged with the music brought overseas past Africans during the Atlantic Slave Tade to get a fusion of Western and non-Western musical traditions. Their influence has been particularly potent in Latin America, where most of the slaves were brought and alloyed with a civilization already like to their own, but the effects are seen throughout the Western World. Traditional European instruments are at present often used to play African rhythms and new vocal styles have influenced the creation of unique choral compositions, many of which are now widely regarded equally some of the greatest music to ever come up out of the W. Additionally, new instruments created based off the designs of traditional African instruments have made their way into Western ensembles and even become cultural icons. While some of the other cultures of the globe have become pop in the West, none take ever truly merged with another culture in the same way equally the music brought to the states from the African continent.
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