The music of Central Africa. An Ethnomusicological Study.
Collection
Titre
The music of Central Africa. An Ethnomusicological Study.
Auteur
Type de document
Ouvrage
Date de parution
1973
Origine géographique
Afrique
Langue
fr
Anglais
Contenu
fr
Résumé.
Rose brandel, compositeur et ethnomusicologue, travaille à la faculté du Collège Hunter à la Cité Universitaire de New-York. Elle a été rédactrice sur la musique et la danse pour vingt volumes de l'Encyclopédie International Grolier.
Rose Brandel, composer and ethnomusicologist, is on th faculty of Hunter College of th City University of New-York. She has been music and dance editor of th twenty-volume Grolier Encyclopedia International.
Sommaire.
Préface.
Note.
Part one.
I. Introduction : geographical, cultural, and language areas outlined.
II. The music and some preliminary considerations.
Terminology defined : "primitive", "simple", "complex", "high civilization".
Harmony : parallel thirds as precursors of functional harmony; comparison with protoharmony of European gymel and European folk music; chronology of intervals of third, fourth, fifth.
Rythm : misconceptions concerning African rhythm; the African hemiola style and its relationship to the traditional European hemiola; relationship to additive rhythms of Orient; Western offbeat syncopation versus the African hemiola style.
Scale make-up and terminology : "diatonic" as indicating a scale comprising only tones and semitones; "chasmatonic" as indicating a scale comprising one or more intervals grater than a tone; "pentatonic" as a special species of chasmatonic, within the octave span.
Antiphonal and responsorial singing : clarification of terminology.
Names of Instruments : the significance of similar names in different areas.
III. Musical ethnology of Central Africa.
Music for the ceremonial : healing; initiation (puberty circumcision, secret society, royal); birth; marriage; hunting; new year and new moon.
The work song.
Music for entertainement : group participation, professionalism.
Music for litigation : vocal music as a vehicle for criticism and airing of grievances.
The dance : realistic, entrovert versus abstract, introvert.
Speech melody and the "talking" drum.
IV. The music - analysis and discussion.
Melody types (diatonic, chasmatonic, short-lined, long-lined) : one- or two-step nucleus; descending tetrachord; rising pentachord fanfare; hexachord; minor seventh with tritone effect; octave (descending and ascending; zig-zag thirds); supra-octave ladder of thirds; non-tempered intervals.
Rhythm : the African emiola style; horizontal hemiola (close-paced; sectional); vertical hemiola (instrumental, vocal, vocal-instrumental); tempo (rapid gamut).
Polyphony and form : parallelism (thirds, fourths, fifths); overlapping antiphonal and responsorial singing (canon at fifth and at unison; elongated cadence); ostinato and dron-ostinato; contrapuntal movement (drual- or triple-melody type; interjectionvariation type); "hanging chords"; combination of polyphonic devices; raised "leading-tone"; litany form; rondo form; sequence or lai form; development in melody or in overall form.
V. Singing style.
Problem of identifying factors comprising a vocal style : structure of music; voice-production components.
Physio-acoustical terms defined : registration (use of the two groups of muscles, arytenoid and thyroid, contolling the vocal cords); upper register (timbre resulting from the functioning of the arytenoid group of muscles); lower register (timbre resulting from the functioning of the thyroid group of muscles); isolated register (timbre resulting from the functioning of one group of laryngeal muscles without the other); resonance (amplification of sound in atuned cavity, notably the pharynx).
African female singing : combined registration with lower register predominationg; high intensities; lower pitch range; result equals typical stridency of low register at maximum.
African male singing : combined registration with upper register predominating; high intensities; lower pitch range; rsult equals typical hoarse-guttural "tenor" quality of hupper register at maximum.
Gutturalness : especially in men's voices; resulting from upper register at high intensity, from pressure of neck constrictor-muscles on larynx, and from tongue hyoid-muscle pressed towards rear of oral pharynx.
Resonance : non-pharyngeal; mouth resonance (in both men and women).
Absence of vibrato : occasional tremolo.
Emphatic, Outdoor, group style : shouting and screaming; dynamic and timbre accents (point of excessive breathiness, gutturalness, nasality).
Ornaments : not common except in Arab-style singing; different-pitched and same-pitched grace note before the beat; "Scotch-snap", mordent; double-mordent; note-clusters between two tones; double grace-notes before beat.
special effects : yodelling; humming; Sprechstimme; hocket; glissando; whistling; drum duplication of vocal melody.
Syllabic, non-melismatic style.
VI. Conclusion.
Possibility of "musical map" : common, widespread style elements; sporadic elements. Symmetry and Asymmetry in Central African art forms.
Part two.
Preface to transcriptions.
Transcriptions.
1. Mangbetu choral song.
2. Babira choral song.
3. Babira choral song.
4. Babira circumcision drums.
5. Babira circumcision dance.
6. Babira circumcision dance.
7. Bapere circumcision dance.
8. Bapere circumcisoin bird.
9. Bapere circumcision flagellation.
10. Bapere horns (Cent-Frequency Chart 1).
11. Bapere xylophone (Cent-Frequency Chart 2).
12. Mambuti Pygmies elephant feast.
13. Mambuti Pygmies dance; flutes and drum (Cent-fequency Chart 3).
14. Mambuti Pygmies hunting song.
15. Batwa Pygmies dance.
16. Batwa Pygmies dance.
17. Bahutu dance.
18. Watutsi royal drums.
19. Watutsi royal drums.
20. Watutsi epic song of war.
21. Watutsi epic song of war.
22. Babunda new year song.
23. Bambala drum telegraphy.
24. Baya dance.
25. Mboko mouth bow (Cent-Frequency Chart 4).
26. Mboko riddle song; zither (Cent-Frequency Chart 5).
27. Pomo perambulating song.
28. N'Gundi humorous love song; sanza (Cent-Frequency Chart 6).
29. N'Gundi song.
30. Babinga Pygmies elephant-hunt ritual.
31. Babinga Pygmies social dance.
32. Yaswa xylophones (Cent-Frequency Chart 7).
33. Kukuya ivory horns (Cent-Frequency Chart 8).
34. Kuyu shaman's alligator-song; horn (cent-Frequency Chart 9).
35. Kuyu birth-of-twins dance.
36. Bongili banana work song.
37. Baduma paddler's song.
38. Baduma padler's song; sanza (Cent-Frequency Chart 10).
39. Okandi women's dance.
40. Banyoro xylophone (Cent-Frequency Chart 11).
41. Banyoro royal horns (Cent-Frequency Chart 12).
42. Batoro dance.
43. Bamba flutes (cent-Frequency Chart 13).
44. Baganda historic song; harp (Cent-Frequency Chart 14).
45. Baganda historic song.
46. Baganda royal xylophones (Cent-Frequency Chart 15).
47. Wasukama wedding song.
48. Wanyamwezi chief installation.
49. Wanyamwezi wedding tune on sanza (Cent-Frequency Chart 16).
50. Wachaga chief-praise song.
51. Wameru spell-breaking party song.
52. Wahehe elephant hunting song.
Melody Type Chart.
Cent-Frequency Chart.
1. Bapere horns.
2. Bapere xylophone.
3. Mambuti flutes.
4. Mboko mouth bow.
5. Mboko zither.
6. N'Gundi sanza.
7. Yaswa xylophones.
8. Kukuya horns.
9. Kuyu horn.
10. Baduma sanza.
11. Banyoro xylophone.
12. Banyoro royal horns.
13. Bamba flutes.
14. Baganda harp.
15. Baganda royal xylophones.
16. Wanyamwezi sanza.
Numerical-territorial index of transcriptions.
Tribal index.
Bibliography.
Index-glossary.
Illustrations.
Rose brandel, compositeur et ethnomusicologue, travaille à la faculté du Collège Hunter à la Cité Universitaire de New-York. Elle a été rédactrice sur la musique et la danse pour vingt volumes de l'Encyclopédie International Grolier.
Rose Brandel, composer and ethnomusicologist, is on th faculty of Hunter College of th City University of New-York. She has been music and dance editor of th twenty-volume Grolier Encyclopedia International.
Sommaire.
Préface.
Note.
Part one.
I. Introduction : geographical, cultural, and language areas outlined.
II. The music and some preliminary considerations.
Terminology defined : "primitive", "simple", "complex", "high civilization".
Harmony : parallel thirds as precursors of functional harmony; comparison with protoharmony of European gymel and European folk music; chronology of intervals of third, fourth, fifth.
Rythm : misconceptions concerning African rhythm; the African hemiola style and its relationship to the traditional European hemiola; relationship to additive rhythms of Orient; Western offbeat syncopation versus the African hemiola style.
Scale make-up and terminology : "diatonic" as indicating a scale comprising only tones and semitones; "chasmatonic" as indicating a scale comprising one or more intervals grater than a tone; "pentatonic" as a special species of chasmatonic, within the octave span.
Antiphonal and responsorial singing : clarification of terminology.
Names of Instruments : the significance of similar names in different areas.
III. Musical ethnology of Central Africa.
Music for the ceremonial : healing; initiation (puberty circumcision, secret society, royal); birth; marriage; hunting; new year and new moon.
The work song.
Music for entertainement : group participation, professionalism.
Music for litigation : vocal music as a vehicle for criticism and airing of grievances.
The dance : realistic, entrovert versus abstract, introvert.
Speech melody and the "talking" drum.
IV. The music - analysis and discussion.
Melody types (diatonic, chasmatonic, short-lined, long-lined) : one- or two-step nucleus; descending tetrachord; rising pentachord fanfare; hexachord; minor seventh with tritone effect; octave (descending and ascending; zig-zag thirds); supra-octave ladder of thirds; non-tempered intervals.
Rhythm : the African emiola style; horizontal hemiola (close-paced; sectional); vertical hemiola (instrumental, vocal, vocal-instrumental); tempo (rapid gamut).
Polyphony and form : parallelism (thirds, fourths, fifths); overlapping antiphonal and responsorial singing (canon at fifth and at unison; elongated cadence); ostinato and dron-ostinato; contrapuntal movement (drual- or triple-melody type; interjectionvariation type); "hanging chords"; combination of polyphonic devices; raised "leading-tone"; litany form; rondo form; sequence or lai form; development in melody or in overall form.
V. Singing style.
Problem of identifying factors comprising a vocal style : structure of music; voice-production components.
Physio-acoustical terms defined : registration (use of the two groups of muscles, arytenoid and thyroid, contolling the vocal cords); upper register (timbre resulting from the functioning of the arytenoid group of muscles); lower register (timbre resulting from the functioning of the thyroid group of muscles); isolated register (timbre resulting from the functioning of one group of laryngeal muscles without the other); resonance (amplification of sound in atuned cavity, notably the pharynx).
African female singing : combined registration with lower register predominationg; high intensities; lower pitch range; result equals typical stridency of low register at maximum.
African male singing : combined registration with upper register predominating; high intensities; lower pitch range; rsult equals typical hoarse-guttural "tenor" quality of hupper register at maximum.
Gutturalness : especially in men's voices; resulting from upper register at high intensity, from pressure of neck constrictor-muscles on larynx, and from tongue hyoid-muscle pressed towards rear of oral pharynx.
Resonance : non-pharyngeal; mouth resonance (in both men and women).
Absence of vibrato : occasional tremolo.
Emphatic, Outdoor, group style : shouting and screaming; dynamic and timbre accents (point of excessive breathiness, gutturalness, nasality).
Ornaments : not common except in Arab-style singing; different-pitched and same-pitched grace note before the beat; "Scotch-snap", mordent; double-mordent; note-clusters between two tones; double grace-notes before beat.
special effects : yodelling; humming; Sprechstimme; hocket; glissando; whistling; drum duplication of vocal melody.
Syllabic, non-melismatic style.
VI. Conclusion.
Possibility of "musical map" : common, widespread style elements; sporadic elements. Symmetry and Asymmetry in Central African art forms.
Part two.
Preface to transcriptions.
Transcriptions.
1. Mangbetu choral song.
2. Babira choral song.
3. Babira choral song.
4. Babira circumcision drums.
5. Babira circumcision dance.
6. Babira circumcision dance.
7. Bapere circumcision dance.
8. Bapere circumcisoin bird.
9. Bapere circumcision flagellation.
10. Bapere horns (Cent-Frequency Chart 1).
11. Bapere xylophone (Cent-Frequency Chart 2).
12. Mambuti Pygmies elephant feast.
13. Mambuti Pygmies dance; flutes and drum (Cent-fequency Chart 3).
14. Mambuti Pygmies hunting song.
15. Batwa Pygmies dance.
16. Batwa Pygmies dance.
17. Bahutu dance.
18. Watutsi royal drums.
19. Watutsi royal drums.
20. Watutsi epic song of war.
21. Watutsi epic song of war.
22. Babunda new year song.
23. Bambala drum telegraphy.
24. Baya dance.
25. Mboko mouth bow (Cent-Frequency Chart 4).
26. Mboko riddle song; zither (Cent-Frequency Chart 5).
27. Pomo perambulating song.
28. N'Gundi humorous love song; sanza (Cent-Frequency Chart 6).
29. N'Gundi song.
30. Babinga Pygmies elephant-hunt ritual.
31. Babinga Pygmies social dance.
32. Yaswa xylophones (Cent-Frequency Chart 7).
33. Kukuya ivory horns (Cent-Frequency Chart 8).
34. Kuyu shaman's alligator-song; horn (cent-Frequency Chart 9).
35. Kuyu birth-of-twins dance.
36. Bongili banana work song.
37. Baduma paddler's song.
38. Baduma padler's song; sanza (Cent-Frequency Chart 10).
39. Okandi women's dance.
40. Banyoro xylophone (Cent-Frequency Chart 11).
41. Banyoro royal horns (Cent-Frequency Chart 12).
42. Batoro dance.
43. Bamba flutes (cent-Frequency Chart 13).
44. Baganda historic song; harp (Cent-Frequency Chart 14).
45. Baganda historic song.
46. Baganda royal xylophones (Cent-Frequency Chart 15).
47. Wasukama wedding song.
48. Wanyamwezi chief installation.
49. Wanyamwezi wedding tune on sanza (Cent-Frequency Chart 16).
50. Wachaga chief-praise song.
51. Wameru spell-breaking party song.
52. Wahehe elephant hunting song.
Melody Type Chart.
Cent-Frequency Chart.
1. Bapere horns.
2. Bapere xylophone.
3. Mambuti flutes.
4. Mboko mouth bow.
5. Mboko zither.
6. N'Gundi sanza.
7. Yaswa xylophones.
8. Kukuya horns.
9. Kuyu horn.
10. Baduma sanza.
11. Banyoro xylophone.
12. Banyoro royal horns.
13. Bamba flutes.
14. Baganda harp.
15. Baganda royal xylophones.
16. Wanyamwezi sanza.
Numerical-territorial index of transcriptions.
Tribal index.
Bibliography.
Index-glossary.
Illustrations.
Éditeur
Martinus Nijhoff, The Hague, Netherlands
Format
fr
27X20
Nbre de pages
272
ISBN
fr
90-247-0634-3
Mots-clés
Illustration
fr
Photo Noir et Blanc
fr
Partition musicale
Couleur
fr
Noir et Blanc