%0 Journal Article
	%A Janice Haworth and  Karamoko Camara and  Marie-Therèse Dramou and  Kokoly Haba and  Daniel Léno and  Augustin Mara and  Adama Noël Oulari and  Silafa Tolno and  Noël Zoumanigui
	%D 2015
	%J International Journal of Humanities and Social Sciences
	%B World Academy of Science, Engineering and Technology
	%I Open Science Index 106, 2015
	%T The Evolution of Traditional Rhythms in Redefining the West African Country of Guinea
	%U https://publications.waset.org/pdf/10002798
	%V 106
	%X The traditional rhythms of the West African country
of Guinea have played a centuries-long role in defining the different
people groups that make up the country. Throughout their history,
before and since colonization by the French, the different ethnicities
have used their traditional music as a distinct part of their historical
identities. That is starting to change. Guinea is an impoverished
nation created in the early twentieth-century with little regard for the
history and cultures of the people who were included. The traditional
rhythms of the different people groups and their heritages have
remained. Fifteen individual traditional Guinean rhythms were
chosen to represent popular rhythms from the four geographical
regions of Guinea. Each rhythm was traced back to its native village
and video recorded on-site by as many different local performing
groups as could be located. The cyclical patterns rhythms were
transcribed via a circular, spatial design and then copied into a box
notation system where sounds happening at the same time could be
studied. These rhythms were analyzed for their consistency-overperformance
in a Fundamental Rhythm Pattern analysis so rhythms
could be compared for how they are changing through different
performances. The analysis showed that the traditional rhythm
performances of the Middle and Forest Guinea regions were the most
cohesive and showed the least evidence of change between
performances. The role of music in each of these regions is both
limited and focused. The Coastal and High Guinea regions have
much in common historically through their ethnic history and
modern-day trade connections, but the rhythm performances seem to
be less consistent and demonstrate more changes in how they are
performed today. In each of these regions the role and usage of music
is much freer and wide-spread. In spite of advances being made as a
country, different ethnic groups still frequently only respond and
participate (dance and sing) to the music of their native ethnicity.
There is some evidence that this self-imposed musical barrier is
beginning to change and evolve, partially through the development of
better roads, more access to electricity and technology, the nationwide
Ebola health crisis, and a growing self-identification as a
unified nation.
	%P 3548 - 3553