African Musical Symbolism In Contemporary Perspective - Saoas.org

LIST OF FIGURES AND TABLES
Figure 1: Ewe children’s song ....................................................... 29
Figure 2: Akan children’s song ..................................................... 30
Figure 3: The ye-ye game.............................................................. 30
Figure 4: The Akan ampe game ................................................... 31
Figure 5: TUBS diagram of the adowa bell.................................. 33
Figure 6: TUBS figure of five sub-rhythms of the adowa
“to me ku me” variation ............................................ 33
Figure 7: TUBS figure of the agbadza/atrikpui bell rhythm
compared with that of the African Signature
Tune ............................................................................. 35
Figure 8: TUBS figure of five sub-rhythms of the Ewe
agbadza ....................................................................... 35
Figure 9: Comparison of the agbadza bell rhythm with the
diatonic seven-note major scale – using tonic
sol-fa notation............................................................. 36
Figure 10: Comparison of the African Signature Tune with
a diatonic five note pentatonic scale – using tonic
sol-fa notation............................................................. 37
Figure 11: Enmeshed space within criss-crossing threads of
cloth or strands of rhythm.......................................... 40
Figure 12: Alternating figure and ground – the faces and
vase .............................................................................. 43
Figure 13: The simplest maracas rhythm of the agbadza ........... 44
Figure 14: The simple kidi drum pattern of the agbadza
dance ........................................................................... 46
Figure 15: Expanded portion of the kidi rhythm to show the
potential “swing” in the offbeat rhythmic field....... 47
Figure 16: The muting of the adowa bell .................................... 50
Figure 17: The rhythms of the gahu bell and two ye-ye claps.... 50
Figure 18: The triple offbeat highlife bell clave pattern
compared to the gahu bell......................................... 51
Figure 19: Two waveforms and their resultant interference
pattern......................................................................... 54
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