Music of Madagascar

Traditional music#

Malagasy music is highly melodic and distinguishes itself from many traditions of mainland Africa by the predominance of chordophone relative to percussion instruments. Musical instruments and vocal styles found in Madagascar represent a blend of widespread commonalities and highly localized traditions. A common vocal style among the Merina and Betsileo of the Highlands, for instance, does not preclude differences in the prevalence of particular instrument types (the among the Merina, and the and among the Betsileo). Similarly, the practice of (entering a trance state, typically induced by music) is present on both the western and eastern coasts of the island but the vocal styles or instruments used in the ceremony will vary regionally. Music in Madagascar tends toward major keys and diatonic scales, although coastal music makes frequent use of minor keys, most likely due to early Arab influences at coastal ports of call. Malagasy music has served a wide range of social, spiritual and mundane functions across the centuries.

Vocal traditions#

Vocal traditions in Madagascar are most often polyharmonic; southern vocal styles bear strong resemblance to South African singing (as exemplified by groups such as Salala or Senge), whereas Highland harmonies, strongly influenced in the past two hundred years by European church music, are more reminiscent of Hawaiian or other Polynesian vocal traditions. Numerous amateur choirs performing Malagasy and Western music can be found in the capital region; the ensemble iCanto is a notable example of a professional choir, with concerts broadcast on national television. In the Highlands, and particularly in the 19th century, vocal performance by large groups called was favored, while in the south and western coastal regions singing was performed with more elaborate ornamentation and in small groups. Musical performance in Madagascar has often been associated with spiritual functions. Music is a key component in achieving a trance state in (or ) spiritual rituals practiced in several regions of the island, as it is believed that each spirit has a different preferred piece of music. The association between music and ancestors is so strong on the eastern coast that some musicians will put rum, cigarettes or other valued objects inside an instrument (through the tone hole, for instance) as an offering to the spirits to receive their blessings. Similarly, music has long been central to the ceremony (periodic reburial of ancestors’ shroud-wrapped mortal remains).

Musical instruments#

Instruments in Madagascar were brought to the island by successive waves of settlers from across the Old World. Over 1500 years ago, the earliest settlers from Indonesia brought the oldest and most emblematic instruments, including the tube zither () which evolved into a box form () distinct to the island. Later settlers from the Arabian peninsula and the eastern coast of Africa contributed early lutes, whistles and other instruments that were incorporated into local musical traditions by the mid-16th century. The influence of instruments and musical styles from France and Great Britain began to have a significant impact on music in Madagascar by the 19th century.

Chordophones#

The most emblematic instrument of Madagascar, the , is a bamboo tube zither very similar in form to those used traditionally in Indonesia and the Philippines. It is typically tuned to a diatonic mode to produce complex music based on harmonic, parallel thirds accompanied by a melodic bass line. although a contemporary form also exists that instead uses bicycle brake cables for strings to give the instrument a punchier sound. and are the Antandroy names of a popular Southern chordophone similar to the but with nylon fishing line for strings and five or seven movable frets that facilitate modification of the instrument’s tuning. A maximum of four of these are strung over the frets, while the rest are strung lengthwise down the sides of the neck and are strummed with the fingers in accompaniment to the primary melody which is played with a bow. Today, the compositions of this period by pianist theatrical composers like Andrianary Ratianarivo (1895–1949) and Naka Rabemananatsoa (1892–1952) form part of the canon of classical Malagasy music and feature in the repertoire of Malagasy students of piano. When the modern acoustic guitar was first popularized in Madagascar, it was adopted by the lower classes who were inspired by the piano style but for whom the purchase of a costly piano was out of reach. Soon afterward, the guitar was widely disseminated throughout the island, producing an explosion of regionally distinctive Malagasy guitar styles inspired by the music played on local traditional instruments. The Malagasy acoustic guitar style has been internationally promoted by such artists as Erick Manana and pioneering Bara artist Ernest Randrianasolo (better known by his stage name D’Gary), who blends the rhythms of with innovative open tunings to approximate the sounds of the , and .

Aerophones#

The , an end-blown flute, is believed to be one of the oldest instruments on the island. The conch shell ( or ) is a similarly ancient instrument believed to have been brought over by early Indonesian settlers. Mainly played by men, it features a lateral blow hole in the Polynesian style and is typically reserved for ritual or spiritual uses rather than to create music for entertainment. The antsiva has also been recorded to have been used as part of Merina royal regalia. The fipple flute is a simple aerophone brought to Madagascar after 1000 CE by immigrants from Africa. A variety of European aerophones were introduced in the 19th century under the Merina monarchy. These most notably include bugles () and clarinets (), and less frequently the trombone or oboe (). Their use today is largely restricted to the Highlands and the or bands that perform at (reburials), circumcisions and other traditional celebrations. Metal and wood harmonicas are also played.

Membranophones#

Various types of membranophones, traditionally associated with solemn occasions, are found throughout the island. In the Highlands, European bass drums () and snare drums introduced in the 19th century have replaced an earlier drum () traditionally beat to accentuate the discourse of a speaker during a or other formal occasions where the oratory art of is practiced. Only men can play the , while women and men may both play the smaller drum. The (“male wood”) drum produces the deepest sound and is reserved for the most significant occasions such as , circumcision ceremonies and the ancient festival of the royal bath.

Idiophones#

Bamboo shakers () filled with seeds are integral to the performance of on the eastern coast of the island, although modern items such as empty insecticide tins or sweetened condensed milk cans filled with pebbles increasingly take the place of traditional bamboo. Shakers of this sort are used throughout Madagascar, commonly in conjunction with and other ceremonies. Early forms of xylophone such as the are found throughout the island and are believed to have come across with the original Indonesian settlers.

Contemporary music#

Contemporary music comprises modern-day compositions that have their roots in traditional musical styles and have been created for entertainment purposes, typically with the intent of eventual mass dissemination via cassette, compact disc, radio or internet. Modern forms of Malagasy music may incorporate such innovations as amplified or imported instruments (particularly electric guitar, bass guitar, synthesizer and drum kit), blend the sounds of new and traditional instruments or use traditional instruments in innovative ways. As contemporary artists adapt their musical heritage to today’s market, they manage to preserve the melodic, chordophone-dominated sound that distinguishes traditional Malagasy music from the more percussion-heavy traditions of mainland Africa. African genres like Coupé-décalé and Afrobeats heavily influence modern malagasy popular music.

Highlands#

In the 1950s and 1960s, a variety of bands in the Highlands (in the area between and around Antananarivo and Fianarantsoa) were performing covers of European and American hits or adapting mainland African tunes for local audiences. Madagascar got its first supergroup in the 1970s with Mahaleo, whose members blended traditional Malagasy sounds with soft rock to enormous and enduring success. His open and enthusiastic support for then-President Didier Ratsiraka assured his band regular performances in association with Presidential functions, and his band came to define the Ratsiraka epoch for many. Other important contemporary musicians from the Highlands include Justin Vali and Sylvestre Randafison, both virtuosos; Rakoto Frah, who could play two simultaneously; Solo Miral, featuring guitar played in the style of a ; Tarika, a Malagasy fusion band based in England; Olombelona Ricky, a highly accomplished solo vocalist, and Samoëla, a roots artist whose blunt social and political critiques propelled his group to popularity.

Coastal styles#

Distinct contemporary forms of music, rooted in local musical traditions, have emerged in the coastal regions since the 1960s. Chief among these are two up-tempo dance music styles that have become especially popular across Madagascar and have achieved crossover success: , a 6/8 time style that originated in the northwest around Mahajanga and Antsiranana, and , a 4/4 time style centered in the southwest between Toliara and Betroka. Other key coastal styles include of Diego-Suarez and the northeast coast as popularized by Mika sy Davis, of Morondava and the southwestern interior, of the southern Anosy region performed by such groups as Rabaza, of the northeast as popularized by Jerry Marcoss, the southern polyharmonic tradition performed by bands like Senge and Terakaly, and and music from neighboring Reunion Island and Mauritius.

Music of Madagascar#

is funky, energetic dance music dominated by ringing electric guitars, accordion (real or synthesized), and call-and-response polyphonic vocals, with heavy electric bass and a driving percussion. The percussion section might include a drum kit, djembe, and shakers. is an electrified version of the traditional musical style that Tandroy singer Mama Sana used to perform at Betsimisaraka and Tsimihety rituals. In addition to their commonalities in tempo, vocal style, and tendency toward minor keys (which some attribute to an Arab influence, and which stands in contrast to the major key dominance of Highland music), the shares the ’s structure in that it always features a middle section called the (“broken”) which is primarily instrumental—voice serves only to urge on more energetic dancing—and during which the vocalists (and the audience) will launch into intricate polyrhythmic hand-clapping to the beat of the music. The major exponents of modern were Jaojoby and Mily Clément. Among the later artists are Ninie Doniah, Wawa, Vaiavy Chila, and Dr. J.B. and the Jaguars.

Music of Madagascar#

Like , is energetic dance music that originated from the traditional music of the southwestern region around Toliara and that has recently been adapted to contemporary instruments such as electric guitar, bass guitar and drum kit. Generally even more rapid than the , this form of music features a guitar performance style inspired by traditional compositions, but the influence of South African township music is evident in both the guitars and polyharmonic vocals, often performed by female singers who repeat variations on a short refrain throughout the song. music is performed at all manner of ceremonial occasion in the South, whether a birthday celebration, community party, or funeral. While had risen to national popularity by the mid-1980s (some would argue the 1970s), only truly began to garner a similar level of widespread appreciation by the mid-1990s. It was not until the 2000 release of the “Tulear Never Sleeps” compilation album that the genre achieved international exposure on a major label. This compilation, however, showcases “traditional” , such as might have more commonly been performed in rural villages twenty years ago, rather than the amplified, synthesized and remixed style in heavy rotation on radio stations performed by national stars like Tearano, Terakaly, Jarifa, and Mamy Gotso. There are many more regional styles of contemporary music that have yet to achieve the level of national recognition attained by and just as there are many nationally and internationally acclaimed musicians who draw upon the musical traditions of the coastal regions in their compositions. Of note are Hazolahy (a largely acoustic roots band from the Southeast that plays ), D’Gary (an acclaimed acoustic guitarist from the inland South near Betroka), and Toto Mwandjani (who popularized Congolese ndombolo-style guitar, and whose band performs a fusion of Central/East African and Malagasy dance styles).

Popular music#

A wide range of foreign music styles have been popularized in Madagascar, including French performed by artists such as Poopy, reggae, gospel music, and pop rock performed by bands such as Green Since mid-2010s malagasy popular music has been a blend of malagasy music, tropical music (Zouk) and African genres like Coupé décalé and Afrobeats. Artists of this new wave of malagasy music include Black Nadia, Vaiavy Chila, LIANAH and BIG MJ. Jazz has been popularized by artists such as Nicolas Vatomanga. Malagasy hip hop broke into the mainstream in the mid-nineties and has since skyrocketed to popularity through artists such as Da Hopp and 18,3. More recently bands like Oladad are experimenting with the fusion of hip-hop and traditional Malagasy musical styles and instruments. There is also a small metal scene with bands like Sasamaso being the most prominent.Dancehall has gained popularity in Madagascar since late 2010s with artists like Mad Max and Basta Lion.

Performance of Malagasy music#

Music has long served a variety of secular and sacred purposes in Madagascar. Song may accompany daily tasks, provide entertainment, preserve history or communicate social and political messages. Music is likewise integral to the experience of spiritual ritual among many ethnic and religious groups on the island.

Secular performance#

Among some ethnic groups music would help advance a repetitive or arduous task. Geo Shaw, a missionary to Madagascar in the 19th century, described observing Betsileo and Merina serfs singing in the rice fields, “timing the music to the movements of their bodies, so that at each accented note they plant a stalk.” The is a day-long spectacle of music, dance, and a stylized form of traditional oratory known as performed by a troupe or as a competition between two or more troupes. While the origins of the are uncertain, oral history attributes its modern form to 18th century Merina king Andrianampoinimerina, who reportedly employed musicians to gather the public together for royal speeches and announcements () and to entertain them as they labored on public works projects such as building dikes to irrigate the rice paddies surrounding Antananarivo. The troupes of today are remnants of a tradition of court musicians that persisted through the end of the 19th century. Under Queen Ranavalona III, the final monarch in the Merina dynasty, there were three official groups of state musicians: one for the queen, one for her prime minister, and another for the city of Antananarivo. The queen’s troupe consisted of over 300 musicians. - over the course of the 19th century the increasing European influence led court musicians and troupes alike to make increasing use of foreign instruments such as violins, clarinets, trombones and trumpets. The tradition of the court musician died out with the abolition of the monarchy in Madagascar after French colonization, but the tradition has continued to thrive. Musical styles from abroad have been merged with pre-existing Malagasy musical traditions to create distinctly Malagasy sounds with foreign roots. An example of this is the , a tune based on the French quadrille that was popularized in the Malagasy court in the 19th century. A specific form of partner dance accompanies this piece, in which dancers will form a long chain of male-female pairs with the woman at the front of each pair, both facing forward holding each other’s hands while advancing to the rhythm of the music. From its origins as a courtly dance, the today is a quintessentially Malagasy tradition performed at the beginning of a social event or concert to kick off the festivities.

Sacred performance#

Music is a common element of spiritual ritual and ceremonies throughout the island. For instance, members of troupes are traditionally invited to perform at the reburial ceremonies of central Madagascar. In coastal regions, music is crucial to helping a medium enter a trance state during a ritual. While in a trance, the medium is possessed by an ancestral spirit. Each spirit is believed to prefer a particular tune or style of music and will not enter the medium unless the suitable piece of music is performed at the ceremony. The first wave of missionaries was obliged to depart Madagascar under Ranavalona I in 1836, but the hymns they developed became anthems for early Malagasy converts persecuted under the Queen’s traditionalist policies. In 1871, an LMS missionary (J. Richardson) improved the rhythm and harmony of these original hymns, which were considerably influenced by European musical styles such as quadrilles and waltzes. Originally, church music was performed by slaves seated in groups of four to five at the front of the church. By the 1870s a more European congregational style had been adopted with all members of the church rising to their feet to sing together.

See also#

• Andy Razaf, (1895–1973), US composer, lyricist and poet of Malagasy descent
• Taralila, a Malagasy style of concertina