Download African Musical Symbolism In Contemporary Perspective: by John Collins PDF

By John Collins

ISBN-10: 393826215X

ISBN-13: 9783938262153

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Extra info for African Musical Symbolism In Contemporary Perspective: Roots, Rhythms and Relativity

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The highpitched staccato and continuously beaten kagan drum takes its cue from the third beat of the bell on interval five. For the gahu, the bell, feet and claps begin on interval one and the long atsimevu master-drum commence on interval nine. The two symmetrical sogo drum rhythms commence on the fifth and thirteenth time-intervals and the two symmetrical halfphrases of the kidi drum on the fifteenth. 61 Many rhythmic dialogues and overlapping call-and-responses can be picked out in the above three Beat Figures.

48 Indeed it is these two African rhythmic features of swing22 and syncopation that helped enable slaves from Africa overcome the problem of having to play the music of their white masters in the New World, particularly in Protestant North America where indigenous African music and drumming was completely banned. It was the acute awareness of the swinging offbeat musical spaces that Europeans largely ignored that enabled African slaves to maintain their polyrhythmic patterns: even when boxed in musically by the mono-rhythmic duple and quadruple time of white Americans.

E. vibrated) in phase, the Germans did not. e. interference pattern) could be heard over the drone of the German engines even at a distance; the length of the pulsation depending on how far out of synchronisation the two engines were. In a more peaceful context this “beating“ technique is precisely the one used by musicians and piano tuners to tune two stings, the 54 “beating“ slowing down and finally disappearing when the two strings are in perfect tune and their vibrations match. The following is an illustration of the interference of two vibrating waveform.

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African Musical Symbolism In Contemporary Perspective: Roots, Rhythms and Relativity by John Collins

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