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Kora
Kora DSC 0355.JPG
String instrument
Classification West African stringed instrument with 21 strings
Hornbostel–Sachs classification 323-5
(Composite chordophone sounded by the bare fingers)
Playing range
Traditional range of the kora
Related instruments
harp, gravi-kora
Musicians
Toumani Diabaté, Ballake Sissoko, Foday Musa Suso, Seckou Keita, Toubab Krewe, Jacques Burtin, Alhaji Bai Konte and sons Dembo and Sherrifo
"Kaira"
Song played by Toumani Diabaté on the kora instrument
Problems listening to this file? See media help.

The kora is a 21-string bridge-harp used extensively in West Africa.[1]

Contents

[edit] Description

A kora is a harp built from a large calabash cut in half and covered with cow skin to make a resonator with a long hardwood neck. The skin is supported by two handles that run under it and it supports a notched double free standing bridge. It doesn't fit into any one category of musical instruments, but rather several, and must be awkwardly classified as a "double-bridge-harp-lute." The strings run in two divided ranks making it a double harp, they do not end in a soundboard but are held in notches on a bridge making it a bridge harp, they originate from a string arm or neck and cross a bridge directly supported by a resonating chamber making it a lute too.

The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and delta blues guitar techniques. The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players.

Kora players have traditionally come from griot families (also from the Mandinka nationalities) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. The instrument is played in Guinea, Guinea Bissau, Mali, Senegal, Burkina Faso and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian. Most West African musicians prefer the term 'jali' to 'griot', which is the French word.

Traditional koras feature 21 strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21. Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line, sometimes plaited together to create thicker strings.

By moving leather tuning rings up and down the neck, a kora player can retune the instrument into one of four seven-note scales. These scales are close in tuning to western Major, Minor and Lydian modes.[2][3]

[edit] History

Djeli Madi Wuleng is traditionally linked to the origins of the kora in the early 19th century. However, the earliest European reference to the kora in Western literature is in Travels in Interior Districts of Africa (1799) by the Scottish explorer Mungo Park. The most likely scenario, based on Mandinka oral tradition, suggests that the origins of the Kora may ultimately be linked with Jali Mady Fouling Cissoko, some time after the founding of Kaabu in the 16th century.[4]

The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons".

Nowadays, increasingly koras are made with guitar machine heads instead of the traditional leather rings. The advantage is that they are much easier to tune. The disadvantage is that it limits the pitch of the instrument as the string lengths are more fixed and lighter strings are needed to lift it much more than a tone. Learning to tune a traditional kora is arguably as difficult as learning to play it and many people entranced by the sound while in Africa, buy a kora and then find themselves unable to keep it in tune once they are home, relegating it to the status of ornament. Koras can be converted to replace the leather rings with machine heads. Wooden pegs and harp pegs are also used but both can still cause tuning problems in damper climates unless made with great skill.

The Gravi-kora

In the late 20th century, a 25-string model of the kora was developed, though it has been adopted by only a few players, primarily in the region of Casamance, in southern Senegal. Some kora players such as Seckou Keita have double necked koras, allowing them to switch from one tuning to another within seconds, and giving them increased flexibility.

The French Benedictine monks of the Keur Moussa Abbey (Senegal), who possibly were the first to introduce guitar machine heads instead of leather rings in the late seventies, conceived a method based on scores to teach the instrument. Brother Dominique Catta, choirmaster of the Keur Moussa Abbey,[5] was the first Western composer who wrote for the kora (solo pieces as well as duets with Western instruments).[6]

An electric instrument modeled on the kora (but made primarily of metal) called the gravikord was invented in the late 20th century by instrument builder and musician Robert Grawi. It has 24 strings but is tuned and played differently than the kora. Another instrument the Gravi-kora, a 21 string electro-acoustic instrument, was later developed by Robert Grawi especially for kora players who wanted a modern instrument. Its playing and tuning are the same as the traditional kora.[7] The gravi-kora has been adopted by kora players such as Daniel Berkman,[8] Jacques Burtin, Le Chant de la Forêt (The Song of the Forest), suite for kora, gravi-kora, flute and viola, [9] and Foday Musa Suso, who featured it in recordings with jazz innovator Herbie Hancock,[10] with his band Mandingo, and on Suso's New World Power album.[11]

[edit] Scores

Kora sheet music (fragment of the score of One Thousand Sources, for solo kora, by Jacques Burtin).

The kora music being part of the oral tradition, its music was not written until the 20th century. The ethnomusicologists were the only ones to note some traditional airs in the normal grand staff method using the G clef and the F clef.

Nowadays, kora scores are written on a single G clef, following the Keur Moussa notation system. This notation system was created for the kora in the late 1970s by Brother Dominique Catta, a monk of the Keur Moussa Monastery (Senegal). The seven low notes that should be written on the F clef are replaced by Arabic or Roman numerals and written on the G clef.

While griots still compose in the traditional way (without writing scores), some Western musicians began to write partitures for the kora and adopted the Keur Moussa notation system at the beginning of the 1980s. More than 200 scores have already been written for kora solo or kora and Western instruments. Two notable Western composers for the kora are Brother Dominique Catta[12] and Jacques Burtin[13] (France), who wrote most of these scores, though composers like Carole Ouellet[14] (Canada), Brother Grégoire Philippe[15] (Monastère de Keur Moussa) and Sister Claire Marie Ledoux[16] (France) contributed with original works.

[edit] Bibliography

  • Eric Charry, Mande Music : Traditional and Modern Music of the Maninka and Mandinka of Western Africa, University of Chicago Press, 2000.
  • Ousmane Sow Huchard, La kora : objet-témoin de la civilisation manding : essai d'analyse organologique d'une harpe-luth africaine, Presses universitaires de Dakar, Dakar, 2000.

[edit] Selected discography

African composers (oral tradition)

  • Mali : cordes anciennes / Mali : Ancient Strings, Sidiki Diabate and Djelimadi Sissoko, Buda Music, 2000. First published in 1970, this CD was the first album totally devoted to the kora. Sidiki Diabate was the father of Toumani Diabate, and Djelimadi Sissoko was the father of Ballake Sissoko. They both recorded "New Ancient Strings - Nouvelles Cordes Anciennes" in 1999 (Hannibal), as a tribute to their fathers.
  • Gambie : l'art de la kora, Jali Nyama Suso, edited by Roderic Knight, Ocora, 1996. First published in 1972, this CD is also a historical recording.
  • Jali Kunda - Griots of West Africa & Beyond, Ellipsis Arts, 1996. A book and a CD edited by Foday Musa Suso, produced by Bill Laswell. Photographs by Daniel Lainé. A journey through traditional kora music and three original meetings: kora and piano (Spring Waterfall by Foday Musa Suso and Philip Glass) ; kora and synthesizers (Lanmbasy Dub, with Bill Laswell, bass, and Jeff Bova, synthesizers) ; kora and saxophone (Samma, a duet with jazz saxophonist Pharaoh Sanders).
  • The Mandé Variations, Toumani Diabate, World Circuit, 2008. Twenty years after his first CD, Kaira (Hannibal, 1988) - that was also the first CD ever recorded with solo kora pieces without any song -, Toumani Diabate alternates traditional pieces on a kora with leather rings and his own creations with a special tuning on a kora with wooden pegs.

Western composers (written music)

  • Quand renaît le matin, Abbaye de Keur Moussa, Art et Musique, 2007. First published in 1991, this album gathers pieces composed and performed by Brother Dominique Catta and Carole Ouellet : solo kora pieces, songs with kora accompaniment and a Concerto for flute and three koras. There is also a piece composed by Brother Grégoire for three koras differently tuned played by one musician.
  • Le Jour des Merveilles, Jacques Burtin, 3 Cd Box Set, Bayard Musique, 2009. Pieces for solo kora, duets with cello, viola, guitar and koto, suites for flute, guitar and three koras.

[edit] Notable kora players

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Main page: :Category: Kora players
Master kora-maker Alieu Suso of The Gambia

[edit] See also

[edit] References

  1. ^ http://asza.com
  2. ^ http://www.coraconnection.com/
  3. ^ http://www.thekoraworkshop.co.uk/
  4. ^ [1]
  5. ^ Keur Moussa web site : http://www.abbaye-keur-moussa.org.
  6. ^ Lumière Radieuse - Keur Moussa, Art et Musique, 2007; Sénégal, Messe & Chants Au Monastère De Keur Moussa, Arion, 2010.
  7. ^ The gravi-kora in the Gravikord web site : http://www.gravikord.com/instrument.html#gravikord
  8. ^ Calabash Moon, Magnatune, 2005 ; Heartstrings, Magnatune, 2009. Video (Daniel Berkman on Gravikord, 1998)
  9. ^ Le Chant de la Forêt, Bayard Musique, 2008. Video (Gravi-kora improvisation by Jacques Burtin, 2010)
  10. ^ Village Life, Columbia, 1985 ; Jazz Africa, Polydor, 1987.
  11. ^ New World Power, produced by Bill Laswell and Foday Musa Suso, Island Records, 1990.
  12. ^ Selected scores of Brother Dominique Catta : « Banehu Len », Suite n°1 for koras, 1983 ; « Fleuves d’Eau Vive », Suite n°2 for koras and chant, 1986; « Du Désert, d’ici et d’ailleurs », Airs de kora, 1988 ; « Banehu Len II», Suite n°3 for kora and flute, 1990 ; « Psautier rythmé de Keur Moussa », 150 Psalms with kora accompaniment, 1996 (all scores published by the Keur Moussa Monastery). The influential « Méthode progressive pour airs de kora » (Progressive Method for kora learning), by Brother Dominique Catta, was published in 1987 by the Monastery Keur Moussa.
  13. ^ Selected scores of Jacques Burtin : « Une Rosée de Lumière », Nine pieces for kora, Monastère de Keur Moussa, 1988; « Le Chant intérieur / The Inner Song » , Pieces and suites for kora, Editions Studio SM, Paris, 1996 ; « Joies soudaines », Works for kora 1988-2010, Marie-Chantal Froment Editor, Le Mans, 2010
  14. ^ Four scores of Carole Ouellet have been published in « Du Désert, d’ici et d’ailleurs » (Monastère de Keur Moussa, 1988). Her other compositions have been recorded along with Brother Catta’s works. See discography.
  15. ^ « Quand renaît le matin », Prelude for 3 koras and a kora player, by Brother Grégoire Philippe, has been published in 1991 by the Monastery of Keur Moussa.
  16. ^ Sister Claire Marie Ledoux composed pieces for solo kora and songs accompanied by the kora. They can be heard in the CD « Une Rosée de Lumière - Saint François et Sainte Claire d’Assise », by Jacques Burtin and Sister Claire Marie Ledoux, Studio SM, 1997.
  17. ^ Toumani Diabate web site [2] - Video (Toumani Diabate playing Cantelowes at El Real Acazar, Sevilla, Spain)
  18. ^ [3]
  19. ^ [4]
  20. ^ [5]
  21. ^ [6]
  22. ^ http://www.zoudiarra.com/index_uk.php?land=engels
  23. ^ [7]
  24. ^ http://www.korafola.com
  25. ^ Jacques Burtin web site [8] - Video (Jacques Burtin playing Ballade de l'île d'Yeu)
  26. ^ [9]
  27. ^ [10]
  28. ^ [11]
  29. ^ [12]
  30. ^ [13]
  31. ^ Daniel Berkman web site
  32. ^ http://fr.wikipedia.org/wiki/Yann_Tambour
  33. ^ [14]
  34. ^ [15]

[edit] External links

Wikimedia Commons has media related to: Kora

205 videos foundNext > 

Griot Lamin Saho( httt://www.duniyaa-recording.com ) - Peace, love and unity between the people.

Lamin Saho, Griot from The Gambia playing a song on his kora. www.laminsaho.tk http Lamin Saho is a kora player, vocalist and the leader of the band "Roots and Culture". He lives in The Gambia and he is the oldest son of the famous Yankuba Saho, who was a griot also. There are a lot of kora players in the Gambia, but Lamin is very talented and he has the intention to keep the traditional kora music alive, but he has given it a personal touch. That's why the people in The Gambia love Lamin for his music. copyright reserved by Lamin Saho

THE KORA WEST AFRICAN INSTRUMENT

Kora Playing by TOUMANI DIABATE & THE SYMMETRIC ORCHESTRA

TOUMANI DIABATE & THE SYMMETRIC ORCHESTRA Kora lessons from the master, recorded live at WOMAD 2008, Taranaki, New Zealand A kora is built from a large calabash cut in half and covered with cow skin to make a resonator, and has a notched bridge like a lute or guitar. The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco guitar techniques. The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to hold the sticks either side of the strings and secure the instrument). Ostinato riffs ("Kumbeng") and improvised solo runs ("Biriminting") are played at the same time by skilled players. Kora players have traditionally come from griot families (also from the mandinka tribes) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. The instrument is played in Mali, Guinea, Senegal, and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian. Traditional koras feature 21 strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to the traditional 21. Strings were traditionally made from thin strips of hide, for example antelope skin - now most strings are made from harp strings or nylon fishing line ...

Mali's Mamadou Diabate plays the kora

Listen for Life ( www.listenforlife.org ) presents MALI'S MAMADOU DIABATE PLAYS THE KORA The kora, a 21-string harp, is the leading instrument in ensembles of traditional instruments in Mali and several closely-related West African countries. In this video Mamadou Diabate, who performs kora music internationally, shows the instrument and plays a traditional melody called Tara. The melody has been played for many generations and is a "remembering" song about the kindness of family members past. www.mamadoukora.com Please subscribe to our YouTube channel, and visit www.listenforlife.org for more information about music in a wide variety of exciting styles.

CLASSICAL MUSIC AFRICA BEAUTIFUL (toumani diabate playing the kora))

KORA INSTRUMENT / AFRICAN CLASSICAL MUSIC A kora is built from a large calabash cut in half and covered with cow skin to make a resonator, and has a notched bridge. It does not fit well into any one category of western instruments and would have to be described as a double bridge harp lute. The sound of a kora resembles that of a harp, though when played in the traditional style, it bears a closer resemblance to flamenco and delta blues guitar techniques. The player uses only the thumb and index finger of both hands to pluck the strings in polyrhythmic patterns (using the remaining fingers to secure the instrument by holding the hand posts on either side of the strings). Ostinato riffs ("Kumbengo") and improvised solo runs ("Birimintingo") are played at the same time by skilled players. Kora players have traditionally come from griot families (also from the Mandinka nationalities) who are traditional historians, genealogists and storytellers who pass their skills on to their descendants. The instrument is played in Guinea, Guinea Bissau, Mali, Senegal, Burkina Faso and The Gambia. A traditional kora player is called a Jali, similar to a 'bard' or oral historian. Most West African musicians prefer the term 'jali' to 'griot', which is the French word. Traditional koras feature 21 strings, eleven played by the left hand and ten by the right. Modern koras made in the Casamance region of southern Senegal sometimes feature additional bass strings, adding up to four strings to ...

10 years Muziekpublique | Mamadou Dramé (kora): 'Marriyamba'

Mamadou Dramé is a virtuoso of the Kora, a West African instrument strongly linked to the tradition of the Griot families. He is fromthe sixth generation of these musician-storytellers. He's a student of the Dakar Conservatory but a new face on the world music scene in Belgium. Also a brilliant singer, he often brings Ablaye Cissokho to mind. He performs here a popular number of the Griot people, 'Marriyamba'. Tradition dictates that each artist interprets the song in his or her own way, which he certainly does here. --- Virtuoze koraspeler Mamadou Dramé is afstammeling (6e generatie!)van een griot-familie in Senegal en een nieuw gezicht in de Belgische wereldmuziekscène. Hij is afgestudeerd aan het conservatorium van Dakar en ook een uitstekend zanger, die bij momenten aan Ablaye Cissokho doet denken. Hij speelt een populair griot- nummer uit West-Afrika, 'Marriyamba'. Het staat iedereen vrij het nummer te interpreteren zoals hij/zij dat voelt! --- Mamadou Dramé est un virtuose de la Kora, instrument de l'Afrique de l'Ouest fort lié à la tradition des familles griot dont il est un descendant de la 6ème génération. Il a étudié au conservatoire de Dakar mais est un nouveau visage de la scène de la musique du monde en Belgique. Aussi excellent chanteur, il fait parfois penser à Ablaye Cissokho. Il interprète ici un morceau populaire du peuple des griots, 'Marriyamba'. Et la tradition veut que chacun interprète la chanson à sa manière, ce qu'il ne manque pas de faire dans ce ...

Sekou and Ousman - Brief introduction to the Kora instrument

Ousman explains the process of learning to play the West African Kora, the first track learnt by the Saho lineage of Jali is the Kelefaba as it contains all the key notes which assists in learning subsequent songs. Sekou and Ousman Saho are available for performances as well as lessons. You are welcome to contact them on 00220 7665670 in the Gambia

Kora Played In New York Subway

Kora instrument played in New York subway 59th Street station December 2008 www.mymusicdiscovery.com http

Kora Jazz Trio - Xam Xam

Kora Jazz Trio - Xam Xam

Kadialy Kouyate plays the Brighton Kora Festival 2011

Kadialy Kouyate performs his own composition at the Brighton Kora Festival held on 15 October 2011 at the Sallis Benney Theatre, Brighton

3 news items
 
The Magnificent Lalo Kebba Drammeh - The World's Greatest Kora Player
AllAfrica.com
Fri, 18 May 2012 04:08:31 -0700

He was a master of the Kora instrument who tune his kora only one time and never tune his kora between songs as done by mostly all Jalis when the switch from one song to another. With Lalo Kebba he would only tune once and that will serve any of the ...

Sud Ouest

De la poésie sur un air de kora
Sud Ouest
Sun, 29 Apr 2012 19:06:04 -0700

Le clou de cette soirée a été la lecture sur le thème du voyage de Joël Bastard, accompagné, à la kora (instrument traditionnel africain) par le Malien Cheick Tidiane Dia. Accueillis au son d'une conque, les deux artistes portés par la mélodie du kora ...

Ouest-France

Festival sur les arts Africains du 9 au 15 mai
Ouest-France
Fri, 04 May 2012 21:01:54 -0700

Sur les chemins d'Afrique de l'Ouest, depuis des siècles, la kora (instrument de musique traditionnel) croise et accompagne l'univers des contes africains. Christine Midawa-Vitard, conteuse d'origine togolaise et Cheick Tidiane Dia, célèbre joueur de ...
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