1. Somali Freedom Song
2. Hasan Gure and Ghanaian immigrants Kwame Ansah Brew and Kofi Emmanuel Dennis on percussion.
3. Somalia
4. Chordophone (Oud), membranophones, and voice
5. The basic structure seems simple with a repetition of the same melodic material either with voice or played on the oud. However, there is a short introduction where Hasan sets the tempo and the accopaniment comes in reinforcing the duple meter. The intra-ensemble interaction is very important for the structure of the song. You can see eye contact to begin the song continued visual interaction. Each section has the same melodic material, but the length of each section differs. The ensemble must interact together to determine the length of each section as well as when the music has ended. It is possible the singer/oud player is setting the lengths of the sections and the accompaniment must follow, but it is not entirely clear and eye contact may be playing a role in setting the section lengths. There is not much audience-performer interaction in this setting so it is unlikely to play a role in structure. Since the membranophone players are from Ghana and not Somalia, it would be interesting to see the difference in performance. How well versed are they in Somali music? Is this performance more of a collaboration across cultures resulting in a cultural mix? Perhaps cultural differences played a role in setting the structure of the music. 

               I've shown this in the past for general music classes mostly to demonstrate an oud for students to hear. It helps that we have a large Somali refugee population and some students get excited about the cultural connection. I have not had any students recognize the song or have any emotional connection to the music, but it would be interesting to hear the perspective of this performance from a Somali native.