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Classification and distribution of African language families (Greenberg, 1966, p.177)

Classification and distribution of African language families (Greenberg, 1966, p.177)

Song-style areas of Africa, as proposed by Alan Lomax

Song-style areas of Africa, as proposed by Alan Lomax

Africa 2. Historical sources and research history. 3. Musical structures and cognition. (ii) Principles of timing.: Ex.3 Alo (àlọ́) Yoruba story-song (Kubik, 1960)

Africa 2. Historical sources and research history. 3. Musical structures and cognition. (ii) Principles of timing.: Ex.3 Alo (àlọ́) Yoruba story-song (Kubik, 1960)

Africa 2. Historical sources and research history.: Ex.2 Circular representation of call-and-response form in the Zulu work-song ‘We majola’ (Rycroft, 1967, p.91)

Africa 2. Historical sources and research history.: Ex.2 Circular representation of call-and-response form in the Zulu work-song ‘We majola’ (Rycroft, 1967, p.91)

Dominant forms of interlocking reference beats

Dominant forms of interlocking reference beats

Shona bichord sequence

Shona bichord sequence

Voiced and unvoiced aspects of the 12-pulse asymmetric standard pattern

Voiced and unvoiced aspects of the 12-pulse asymmetric standard pattern

Africa 3. Musical structures and cognition. (v) Multipart singing, instrumental polyphony and illusory effects.: Ex.4. Simultaneous harmonic sounds produced in Xhosa music (South Africa) and Nkhumbi/Handa (Angola) musics by application of the skipping process to a scale derived from harmonics over two fundamentals a whole tone apart: (a) Columns of partials (b) Resultant scalar layout (c) Harmonic sounds obtained by the skipping process

Africa 3. Musical structures and cognition. (v) Multipart singing, instrumental polyphony and illusory effects.: Ex.4. Simultaneous harmonic sounds produced in Xhosa music (South Africa) and Nkhumbi/Handa (Angola) musics by application of the skipping process to a scale derived from harmonics over two fundamentals a whole tone apart: (a) Columns of partials (b) Resultant scalar layout (c) Harmonic sounds obtained by the skipping process

Gerhard Kubik, Vienna

Subjective inherent patterns in the amadinda composition ‘Kalagala e Bembe’. The tuning of an amadinda is equipentatonic and the numbers 1–5 indicate the five xylophone keys; players I and II strike their keys in parallel octaves and player III strikes only the top two keys of the 12-note amadinda

Subjective inherent patterns in the amadinda composition ‘Kalagala e Bembe’. The tuning of an amadinda is equipentatonic and the numbers 1–5 indicate the five xylophone keys; players I and II strike their keys in parallel octaves and player III strikes only the top two keys of the 12-note amadinda

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The Garland Encyclopedia of World Music
M. Praetorius: Syntagma musicum, i (Wittenberg and Wolfenbüttel, 1614-15, 2/1615/R); ii (Wolfenbüttel, 1618, 2/1619/R; Eng. trans., 1986, 2/1991); iii (Wolfenbüttel, 1618, 2/1619/R)
Hamburger Jahrbuch für Musikwissenschaft
Musica da camera
Yearbook of the International Folk Music Council
Galpin Society Journal
Musical Quarterly
African Music
Yearbook for Traditional Music
Zeitschrift für Musikwissenschaft
Music Analysis
Musical Antiquary
Österreichische Musikzeitschrift
The New Grove Dictionary of Music and Musicians
Journal of the American Musicological Society
Ethnomusicology