
Produced by
Electronic Music Foundation
Ear to the Earth 09
David Monacchi reports on a recent trip to the Central African Republic. Steven Feld presents Ni Otoo Annan, master drummer from Accra, Ghana, who demonstrates how rhythms pass from the environment to musical language.
Sounds of the Dzanga-Sangha Reserve........................................................................David Monacchi
Field recordings by David Monacchi

David Monacchi telling his story
A sample of sound from the Dzanga-Sangha Reserve
Bufo Variations...............................................................................................................Steven Feld
Nii Otoo Annan, master drummer, Accra, Ghana


Nii Otoo Annan playing the rhythms
Describing his trip in August, 2008, David Monacchi took us into the protected area of the Dzanga Sangha Dense Forest Reserve in southern Central African Republic. "My goal in these trips," as he put it, "is to explore, document, and communicate in sound the organic equilibrium and intrinsic beauty in the ecosystems of the world's areas of primary equatorial rainforest ..." For his field recordings, he designed custom microphones and used a special SoundField 3D system capable of capturing sound from a large spatial area, and the result was an immersive 3D sensation of being there.
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During a 2004 visit to Ghana to study bells as time-keepers in drum ensembles, Steven Feld became fascinated with the way in which the deep-night croaking of Bufo Regularis toads, emanating from sewers and flanking city roads in early evening, defined time and space. Listening to Feld’s Bufo soundscapes, Nii Otoo Annan, Ghanaian master drummer, remarked: "The crickets are sounding like the bell with very strict time, and the kawkawdene (toads) are the master drummers, making many rhythms on top." Feld and Annan began a collaboration in 2005.
For Ear to the Earth 09, Feld and Annan joined forces to perform a set of improvised variations, bringing out the dynamic interplay between the acoustic ecology of toad and cricket sounds as they are heard in Accra, and the polymetric and polyrhymic characteristics of Ghanaian musical practice, thereby demonstrating how environmental sounds can influence our music and speech.