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Under the inspiring guidance of my mentor, Curt Sachs, this work was conceived, planned, and executed. It gained in dimension under the acute and patient perusal of Gustave Reese to whose brilliant propensity for clarity of thought and of style lowe a huge debt. Furthermore, the helpful suggestions made by Martin Bernstein and by Jan LaRue are gratefully acknowledged. If Jaap Kunst had not kindly gone to the trouble of ordering, supervising the con struction of, and mailing to me from Amsterdam his personally designed monochord, an important section of this work could not have taken form. This preface is not complete, of course, without final thanks to my husband, Harvey B. N atanson, for his sustained interest and encouragement. R. B. Note As the present work goes to press, the political map of Africa is flowing into a new mold. Several countries have obtained independence, and new names and data should be con sidered: French Equatorial Africa has become (November 28-December I, 1958) four independent countries - Republic of the Congo: Brazzaville (formerly Middle Congo), Gabon Republic (formerly Gabon), Central African Republic (formerly Ubangi-Shari), and Republic of Chad (formerly Chad). The Belgian Congo has become (June 30, 1960) the Republic of the Congo: Leopoldville.
Vol. 1 previously published in 1994 by F. Noetzel.
Under the inspiring guidance of my mentor, Curt Sachs, this work was conceived, planned, and executed. It gained in dimension under the acute and patient perusal of Gustave Reese to whose brilliant propensity for clarity of thought and of style I owe a huge debt. Furthermore, the helpful suggestions made by Martin Bernstein and by J an LaRue are gratefully acknowledged. If Jaap Kunst had not kindly gone to the trouble of ordering, supervising the con struction of, and mailing to me from Amsterdam his personally designed monochord, an important section of this work could not have taken form. This preface is not complete, of course, without final thanks to my husband, Harvey B. Natanson, for his sustained interest and encouragement. R. B. Note As the present work goes to press, the political map of Africa is flowing into a new mold. Several countries have obtained independence, and new names and data should be con sidered: French Equatorial Africa has become (November 28-December I, 1958) four independent countries - Republic of the Congo: Brazzaville (formerly Middle Congo), Gabon Republic (formerly Gabon) , Central African Republic (formerly Ubangi-Shari), and Republic of Chad (formerly Chad). The Belgian Congo has become (June 30,1960) the Republic of the Congo: Leopoldville.
Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The world of Sub-Saharan African music is immensely rich and diverse, containing a plethora of repertoires and traditions. In The African Imagination in Music, renowned music scholar Kofi Agawu offers an introduction to the major dimensions of this music and the values upon which it rests. Agawu leads his readers through an exploration of the traditions, structural elements, instruments, and performative techniques that characterize the music. In sections that focus upon rhythm, melody, form, and harmony, the essential parts of African music come into relief. While traditional music, the backbone of Africa's musical thinking, receives the most attention, Agawu also supplies insights into popular and art music in order to demonstrate the breadth of the African musical imagination. Close readings of a variety of songs, including an Ewe dirge, an Aka children's song, and Fela's 'Suffering and Smiling' supplement the broader discussion. The African Imagination in Music foregrounds a hitherto under-reported legacy of recordings and insists on the necessity of experiencing music as sound in order to appreciate and understand it fully. Accordingly, a Companion Website features important examples of the music discussed in detail in the book. Accessibly and engagingly written for a general audience, The African Imagination in Music is poised to renew interest in Black African music and to engender discussion of its creative underpinnings by Africanists, ethnomusicologists, music theorists and musicologists.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The aim of this book is to stimulate debate by offering a critique of discourse about African music. Who writes about African music, how, and why? What assumptions and prejudices influence the presentation of ethnographic data? Even the term "African music" suggests there is an agreed-upon meaning, but African music signifies differently to different people. This book also poses the question then, "What is African music?" Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative "Afro-centric" means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate--and new thinking--among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples.