so it is especially interesting to know that the Griot musicians are kept separate from the public ceremonial functions. When Griot musicians show up at given parts of the ceremony they are always tolerated by the greater social community, but there is a distance between both groups; with the discipline of music as a wedge that separate into different states of reality- which is consistent with the wedge that really exist in Jola society. In both appearances in the video tape the Griot musicians were playing a kind of hockett rhythmic music that emphasized the use of sound-attack languages. It should not be lightly noted that the 'reality-existence' of the historical Griot musician is kept separate from the composite culture, and this aspect of the musician/culture connection needs to be better understood. Because the Griot musician is a) the person who carries the history of the culture forwards through his work b) because the Griot travels a wider area-space than most given 'local' citizens c) because Griot musicians have a relationship with the 'upper power' structure d) because the Griot musicians have a connection with witchcraft and sorcery and e) because everyone seems to 'know' that the discipline of 'music as a life's work actually means 'music as the It of Its'. That is; 'music as something else'. This point cannot be over stretched. In an area-space in which, for the most part, everyone is a musician; that there would be a class of citizens known as Griot masters really points to the super natural components of this discipline (which is really a 'calling). Musical ideas in video tape number one exist in four types a) the use of rhythmic cell motivic materials b) the use of principle and secondary concept devices c) the use of melodic line formations that create fresh states of melodic and 'feeling dimension' and d) the use of dynamic improvisation. In the first example the use of rhythmic and melodic cell configuration mater...
