Editing Makossa (section)

=== Exogenesis ===

==== Gospel and classical songs of Baptist churches ====
Many musicians did their classes in choirs of [[Baptists|Baptist]] [[Church (congregation)|churches]] before blossoming in profane music.<ref name="l'Harmattan" /> One must highlight that the [[Duala people|Duala]] are by influence [[Protestantism|Protestant]]. [[Gospel music|Gospel]] and classical chants impacted the aspect of makossa concerning choirs, precisely the recourse to [[Singing voice|feminine voices]].<ref name="l'Harmattan" />

==== Highlife ====
[[Highlife]] is a [[West Africa|West African]] [[popular music]] whose origins lay in [[Sierra Leone]], then [[Ghana]] and finally in Nigeria in the 1920s.<ref name="l'Harmattan" /> It is a fusion of Western sounds and traditional musics. Highlife touches a multitude of styles and diverse combinations of instruments that correspond to emergent [[Social class|social classes]] as well as local traditions. The term "highlife", is revealing of the new urban culture created by [[colonialism]].<ref name="l'Harmattan" />

In 1930, distinct varieties existed along the West African coast.<ref name="l'Harmattan" /> Two major styles emerged: the dance [[orchestra]] with [[Brass instrument|brass instruments]] as well as other [[Western musical instruments|Western instruments]]; and groups more popular with dominant [[guitar]] and some musicians. It is this second style that influenced makossa as far as guitaristic texture and [[harmonic structure]].<ref name="l'Harmattan" />

==== Merengue ====
[[Merengue music|Merengue]] has its origins in the [[Dominican Republic]] in the 19th century.<ref name="l'Harmattan" /> It originated with [[African instruments]]. notably [[Drum|drums]]. It later progressively incorporated Western instruments such as the [[accordion]] and more recently brass instruments. It marked almost all urban [[African music]] and [[Cameroonian music]] in particular; it was highly popular in the 1950s and 60s. According to Joseph OWONA NTSAMA:<blockquote>"Makossa of the Cameroonian coast in between 50 and 60 from the start, is musically and sociologically an ersatz of Merengue."</blockquote>The tempo of merengue has particularly influenced makossa.<ref name="l'Harmattan" />

==== Congolese rumba ====
Original rumba was born in [[Cuba]] from the [[Atlantic slave trade|African slaves]].<ref name="l'Harmattan" /> It is a music of poor people in [[Urban area|urban]] environments, of workers without wives, nor families. It is a fusion of Spanish [[fandango]], [[biguine]], [[Merengue music|merengue]], [[Mambo (music)|mambo]], [[Cha-cha-chá (music)|chachacha]], and [[Calypso music|calypso]]. Ever since its first appearance in [[Cuba]], [[rumba]] accomplished its triangular path via [[United States|America]]-[[Europe]]-[[Africa]] to finally root itself in Africa, notably in the Congo where it mixed with [[highlife]] to support the fight for [[African independence movements|African independences]]. It changed quite a bit in the Congo.<ref name="l'Harmattan" /> 

In effect, by [[sebene]], it becomes more fluid and [[Rhythm|rhythmic]].<ref name="l'Harmattan" /> It has left a considerable [[Melody|melodic]] imprint on makossa. Pioneers of makossa were lulled by the guitaristic [[Fingering (music)|fingering]] of the couturiers of rumba. Vicky LONGOMBA, Docteur NICO, FRANCO, VERKYS, Franklin BOUKAKA, the orchestras "African-Jazz", "OK Jazz", "les bantus de la capitale", "les grands maquisards", etc. were their paradigms. Certain guitar phrases were not more or less than retakes of rumba solos. Congolese music has more than all other exterior influences marked its imprint on makossa for it was the most diffused at that era thanks to the almighty "Radio Léopoldville".<ref name="l'Harmattan" />

Moreover, the trip to [[Douala]] between 1966 and 1967 of the orchestra "Cercul jazz" from Brazzaville, would prove for eight months in a productive stay that rumba could be sung in [[Duala people|Duala]].<ref name="l'Harmattan" /> This would contribute to its influence on makossa.<ref name="l'Harmattan" />

==== The funky-disco movement: The Motown Sound ====
Tired of the "cool [[jazz]]" at that period, many [[African Americans|African-American]] musicians in the years from 1954-1960 advocated the return to the strength of a more "muscular" jazz coincided with the hatching of [[rock'n'roll]] of young [[whites]].<ref name="l'Harmattan" /> Directly inspired by [[bebop]], this hard jazz planted its roots at the sources of African rhythm.<ref name="l'Harmattan" />

Moreover, this jazz searched [[Spirituality|spiritual]] inspiration within the [[Gospel music|gospel]] song and the religious music of African-Americans.<ref name="l'Harmattan" /> The [[funky]] which comes from this synthesis has received a frank success. This success would be amplified by its proximity with [[Soul music|soul]] and [[disco]] which are far ersatz. Certain icons would serve as a "school" in the basic formation of future stars of makossa: [[James Brown]], the [[Bee Gees|Bee-Gees]], [[Kool & the Gang|Kool and the Gang]], [[T-Connection|T. Connection]], [[Donna Summer]], [[Village People]], [[Gloria Gaynor]], [[ABBA]], [[the Temptations]], [[Shalamar]], [[Commodores|the Commodores]], [[Ike & Tina Turner|Ike and Tina Turner]], [[Percy Sledge]], [[Boney M.|Boney-M]], [[Smokey Robinson]], etc.<ref name="l'Harmattan" />

The [[funky]]-[[disco]] movement influenced makossa via the use of the [[Aerophone|aerophones]], or the [[Brass instrument|brass]] and [[Woodwind instrument|woodwind]] instruments; the [[Bass guitar|bass]] playing and to a certain extent the beat of the [[drum kit]].<ref name="l'Harmattan" /> The [[Bassist|bassists]] include: Joe TONGO, LONG Manfred, Jeannot Karl DIKOTO MANDENGUE, Vicky EDIMO, and ALADJI TOURE. The influence of the funky-disco movement besides its purely [[Technology|technical]] and [[Orchestra|orchestral]] aspect, also affected the [[onomastics]] of makossa musicians. In effect, many purely and simply adopted [[American names]]: Peter Moukoko, Bill Loko, Jimmy Sax, Peter Makossa, Jackson Berry, Vicky Edimo, Peter Mpouly, Tim and Foty, Jimmy Takoube, Black Styls, Joe Mboule, Joe Etonde, Peter Yamson, Georges Dickson, Mike Kounou, Blacks Styls, Negro Styls, Cracks, Chancellor, etc. <ref name="l'Harmattan" />