This is an interview with Mamane Barka, the last master of the Biram, a traditional African instrument in Niger.

In a world where entire animal species and ethnic tribes can be lost, it should come as no surprise that musical instruments too, can become extinct.
Standing firm against the disappearance of the ancient African instrument the Biram, is the musician Mamane Barka- the last master of the Biram.
There is an urgency in Barka’s voice as he strives to fulfill his ambition to keep the Biram going, amidst ever changing musical tastes and the nonchalance of the political elite in his native Niger.
He said: “Culture is disappearing. I can’t believe that in a country like mine, where you can get a lot of important traditional instruments, these instruments are allowed to disappear. The old periods are dying and there is no one who can continue – that is not good.”
He added: “I may be only one person, but I can do something that another man can continue after me.”
Barka spoke to Suite 101 about how he learnt to play the Biram and his efforts to secure the instrument’s continued legacy.
Learning a Sacred Traditional Instrument
Barka’s journey to becoming the last surviving player of the Biram is as fascinating as the music that he conjures from the instrument.
The Biram is a sacred, traditional instrument used by the small Boudouma tribe in Eastern Niger. Traditional fishing nomads, they live on the border of lake Chad.
A 5 stringed instrument somewhat similar to a harp, the Biram is played only by initiatied masters within the Boudouma tribe. In the Boudouma language, Biram means ‘family’ and the 5 strings represent the father, mother, and three children. The instrument is sacred to the Boudouma people and evokes images of their nomadic, peaceful life.
But Barka is not from the Boudouma tribe. He hails from the similarly nomadic Toubou tribe and only discovered the Biram in 1998 as part of ethnomusicological research he was conducting with academics.
He explained: “In 1998 I went with a professor of music to do research on music from different tribes in my country. When we met the man who became my master (Boukar Tar), he was crying. He said he was not happy because there was no one who played the Biram now. He played a song called Bulanga, which is a song he did for his friends and other masters of the Biram who died. ‘Now’, he said, ‘I am alone’. ‘What will be the future of the Biram?’ He cried in front of us. The professor told me: ‘Barka, the Biram is a very important instrument for your country and you shouldn’t let it die. You must go back and ask him to teach it to you’, and I agreed.”
Becoming the Last Master
However it wasn’t until 2002 that Barka was able to return to the coast to find the old master. Difficulties in identifying financial support delayed his dreams, but it was a UNESCO scholarship that finally gave him the opportunity to return to the tribe.
The 51 year old Barka explained: “When I went back to the village in 2002, the old master looked at me in surprise. When I told him that I had come to be his student, he was very pleased.”
After many rituals of purification the old master agreed to educate Barka in the holy instrument and the lyrics of the mystical songs.
Barka’s timing was just right as his master died the following year.
Armed with his master’s 47 year old Biram given to him as a gift, Barka is now truly the last master of the Biram in the world and considers it his duty to teach others about the instrument.
Most of the songs he performs are traditional Boudouma songs that talk about the life of the ancestors, the spirits and animals; the beauty of the water in the lake, the beauty of the desert, and the braveness of the warriors. He sings in the Boudouma language as well as in Haussa, Toubou and Kanuri, all different languages of Niger.
Teaching Traditional Music
Barka bemoaned the loss of interest in the instrument amongst young people in his home country.
“The population doesn’t want the Biram now,” he said.
“The young people don’t want it. They don’t want traditional music- not just the Biram but all traditional music. My country is full of important and very good music but the young people want rap music, or to learn the guitar or the piano or the saxophone. I am only doing this now, going around the world with the Biram, to get the youths to love the culture.”
Thankfully, the future for the Biram looks bright. Barka has three keen students– all anxious to get their own instrument soon.
“They want their own instruments,” he explained.
“I tell them one day I will get some money so that everyone can get his own Biram. I don’t want to be like my master- if I die there is no one anywhere with a Biram. My master gave me his own Biram; the one that his father gave to him- he had it for 47 years. It is very old and I am scared to leave it in my house with my two wives and nine children!”
Prior to learning the Biram, Barka was a well known musician in Niger, famous for popular music.
His devotion to the Biram now has taken him around the world and he hopes that his recent UK tour in November 2009, will continue to raise the profile of this beautiful instrument.
“The Biram is not a sacred instrument to me as it was to my master,” he said.
“Its music and melodies and the words are sacred, but it is a universal instrument. It is an instrument that everyone can learn to play without doing the purification rituals. You come to see me and I will teach you how to play the Biram.”

Research has shown how good sight-readers are successful, but how should we be teaching these skills to music students?

Sight-reading seems to be something that private lesson teachers just assume that a student is practicing on his or her own. Realistically, many students are not practicing sight-reading on their own and most probably don’t know how unless it is explained to them. Also, sight-reading is a skill that takes practice to become good at. Teachers should monitor their students’ sight-reading progress carefully, just like other skills taught in lessons.
A teacher can teach their student good sight-reading habits by isolating skills and teaching them to students, just like other concepts taught in a lesson. Research has isolated certain habits of good sight-readers, so teaching those ideas in a lesson setting should prove beneficial. These habits are scanning the music before playing, knowing common patterns in music, reading rhythms accurately, and practicing well.
Scanning the Music Before and Reading
The best sight-readers note the time signature and key signature before playing. It seems simple, but research shows that when the music is covered up after a student has started, many students don’t remember what key they’re in. By establishing the importance of the key signature, the student can make a step toward good sight-reading skills.
Knowing Common Patterns in Music
This skill comes with hour of scales, arpeggios, and exercises. Spending lesson time on these skills at any level beyond beginners can be a waste of lesson time. However, to recognize common patterns in music, a student must also know how to scan ahead enough in the music to find the patterns. Many students are not aware of their peripheral vision.
They can be taught how they can use their peripheral vision to scan ahead in music to find recognizable patterns. While doing this, the teacher can encourage the student to try to take in larger and larger “chunks” of information.

Reading Rhythms Accurately
The brain takes in sight-reading information incredibly quickly when it recognizes something familiar, and slowly when it doesn’t. By taking time to go over difficult rhythms in a lesson when they come up in an exercise or solo, the student has a much better chance of recognizing it next time.
Practicing Well
Students often don’t know how to practice properly. By talking about what a student should be doing during personal practice time, that student can learn good habits that will make practice time much more profitable.
Practicing scales, arpeggios and challenging rhythmical etudes at home are some ways students can improve their sight-reading skills at home. To make sure that the student is progressing, a teacher should make sure in the lessons that the student is practicing these skills at home.
Consistently teaching sight-reading practice in the right environment should yield a highly efficient sight-reader, and a student who can have more fun playing music.
Sources
MacKnight, Carol B. “Music Reading Ability of Beginning Wind Instrumentalists after
Melodic Instruction. Journal of Research in Music Education, Vol. 23, No. 1 (Spring, 1975), pp. 23-34.
McPherson, Gary E. “Factors and Abilities Influencing Sight-reading Skill in Music.”
Journal of Research in Music Education, Vol. 42, No. 3 (Autumn, 1994), pp. 217-

Duke Ellington is considered to be one of the greatest figures in the history of American music. Edward Kennedy ‘Duke’ Ellington was born in Washington D.C. on April 29, 1899.
His parents were James Edward and Daisy Kennedy Ellington. They raised Duke as an only child, until his sister, Ruth, was born when Duke was sixteen years old.
Duke, even as a teenager had a great talent for music. In the beginning of his musical life, Duke began to take a promising interest in a new type of music that would later be called jazz. Choosing to base his career on a new idea may not have been smart, but Duke did take this chance and in turn became one of the most famous musicians in America.
Duke’s first job was at a government office. He was a clerk who received the minimum wage and was barely getting by. He would arrange dance bands for weddings and parties for extra money. His mother taught him how to play the piano. Sometimes he put this knowledge to use and played at a few of the dance parties and weddings.
After Duke’s first job, he became more interested in painting and the arts. For a few years he painted public posters. Duke then decided to put together his own band. At this point in his life things started to change for the better for Duke, but not for long. In those days, this new music was just beginning to develop and would later be given the name of jazz. In that time it was considered to be low and vulgar because it was music that grew directly out of the Black culture. In those early years, segregation was at one of its all time worst points in history. I think that is why Duke Ellington was one of the most important individuals to the growth and development of jazz.
During Duke’s long career, the new music slowly spread out of bars and saloons, to dance and night clubs and then eventually onto the concert stage.
In time, jazz became a universally recognized form of art and has been said that it is the only real form that has originated from the American soul.
By the 1960’s Duke traveled the globe so many times that he became known as the unofficial ambassador to the United States. Duke’s band had played in Russia, Japan, Latin America, the Far East, the Middle East, and Africa.
Duke, himself, was an elegant man. When the white people looked down on the black man and his music, Duke managed to bring dignity to every one of his performances. Once, the jazz historian Leonard Feather described Duke as, ‘an inch over six feet tall, sturdily built, he had an innate grandeur that would have enabled him to step with unquenched dignity out of a mud puddle.’
Duke’s private life was something of an enigma. Although he had many friends he never really told them everything about himself. He would often guard his privacy probably because he had so little of it. When he was alone though, he would almost always be arranging the next tune for the band to play, and was always thinking or preparing something for the band to do in the next performance.
Duke attracted some of the greatest musicians to join his band. Because of this it has been said that many of Duke’s pieces are almost impossible to exactly duplicate without the personal style of the original musicians. One of the strange things that was known about Duke was that his school music teacher, Mrs. Clinkscales, who played the piano, was always the inspiration for him to just sit down and start tinkering around with a few notes that usually became big hits.
In his band the two, probably most famous musicians were the trumpeter Whetsol and the saxophonist Hodges. As the band became more and more popular, saxophonist Hodges became the highest paid performer in the United States.
The 1920’s became known as ‘the Jazz Age’ because jazz had hit its first great burst of popularity. At that time Duke then added a young drummer named Sonny Greer. A few years after Greer was hired, Duke’s band hit a very rough spot. They were often stuck in the street with no money and nowhere to go. Duke and his band often were stuck doing crude recordings just for a few dollars to buy a meal.
In the autumn of 1927, luck had crossed paths with Duke again. The manager of Duke’s band, Irving Mills, had heard that the prestigious cotton club was looking for a new band and immediately Irving began campaigning for Duke. Duke and his band opened on December 4, 1927 to meet a mad rush of spectators who eagerly awaited to hear Dukes newest pieces. Duke’s band became very prosperous and they had their own spot on the Cotton Club floor with special lighting and accommodations.
At the year of 1928 the band consisted of Bubber Miley, Freddy Jenkins, and Arthur Whetsol on trumpet, joined with Tricky Sam Nanton, and Juan Tizol on trombone. Johnny Hodges, now on alto sax, with Barney Bigard doubled on tenor sax and clarinet, and finally Harry Carney at seventeen years old joined on bari sax. Carney was known as one of the first people in a band ever to use the bari sax as a solo instrument.
While Duke’s band was performing at the Cotton Club, his band participated in more than sixty-four recording sessions.
In 1931 Duke grew so tired of the show-business routines that he decided to try his luck again on his own. When he arrived in New York his band grew to almost three times what it originally had been at the Cotton Club. Duke feared that this would become a very serious problem considering how the stock market crashed in late 1929 and millions of people across the United States were out of work.
Somehow, though, most of the entertainment business survived the economic hardships. Ellington’s band had appeared on Broadway and had even gone to Hollywood to make a movie. Duke’s band was having a hard time performing in the south because of the segregation laws not allowing blacks to eat in white restaurants or finding accommodations that would allow blacks and whites to stay together in a half-decent room.
In 1932 Duke added a trombonist named Lawrence Brown. In the same year, most of the other big bands were adding vocalists to their ensemble and thus Duke felt pressured to do so too. Duke then hired a woman named Ivie Anderson and quickly proved that he had done the right thing.
Then in 1933 his band got a chance to play in Europe. At first Duke was very skeptical of how his music would be reacted to just because jazz had its roots in America and the Europeans had a very contrasting style of music. The band managed to talk Duke into believing the idea was a good one. The band’s first stop was England. The band was amazed at how well informed they were about their entire past. Even the Prince of Wales came to hear the band play. At the time the prince was an amateur drummer and Sonny Greer Showed the prince how to work the drum set and they played together and in the end were calling each other ‘Sonny’ and ‘The Wale’. All the concerts held in England were sellouts. The band then moved on to Scotland, and then Paris, France where their music was greeted with open arms.
When Duke’s band returned to America the band really began feeling the hardship and sorrow of traveling on the road, being separated from loved ones. Also, many of the band members, including Duke, began developing drinking problems and started making some of the musicians lives miserable. What made things worse was the fact that Duke’s mother, Daisy, died in May of 1935 that set Duke into a deep depression and he used to sit and stare into space while he talked to himself. Fortunately though, those long pep-talks with himself seem to snap Duke out of his depression.
But despite everything the band survived and in 1946 a saxophonist/clarinetist named Russell Procope joined the band and brought everyone up to a new point of view about traveling on the road. Around the time that Procope joined the band Duke invented a new song called ‘Reminiscing in Tempo’ and was not looked upon favorably by critics but it did seem to sum everything up that was written by Ellington from 1931 to 1939 in a combination of gladness, sadness, triumph, and tragedy. But then Duke’s friend Arthur Whetsol became and had to leave the band.
Then the future of the band seemed uncertain as the depression continued and millions of people were still out of work. Until around 1935 when the ‘Swing Era’ hit the U.S. Irving Mills had then formed his own record company in 1936 that boomed with popularity as the demand for big bands playing this new swing music was in intense demand.
Later on Duke hired a lyrical writer named Billy Strayhorn that led a premature death in 1967. But when Strayhorn was with the band he wrote many compositions that often went into the band’s book of music. Then in 1942 Duke hired one of the best tenor saxophonists ever and let him play the first tenor sax solo ever arranged by Duke Ellington.
In 1951 Saxophonist Johnny Hodges, trombonist Lawrence Brown, and Sonny Greer left the band together and formed their own band but then in 1955 Sonny Greer returned to the band and stayed with Duke until his death in 1970. And then by the 1950’s the Ellington band was carrying on almost alone.
By 1972 the times and styles of the world no longer fit the old time style of Duke’s band. The band was not known like it used to be and that could be the point in time I suppose you could say that the band broke up.
Duke Ellington’s career spanned the whole history of the birth of the music called jazz. And nowhere in that glorious history is there a man who had more love for music, more respect for his art, than the man they called the Duke.

David Kunstek writes for Http://www.ShotGlassShelf.com – Display Cases for the Shot Glass Collector, and Http://www.Secret-Deals.com – Every day discounts on Brand Name Merchandise

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About the Author
David Kunstek writes for Http://www.ShotGlassShelf.com – Display Cases for the Shot Glass Collector, and Http://www.Secret-Deals.com – Every day discounts on Brand Name Merchandise