African Musical Symbolism In Contemporary Perspective - Saoas.org

More documents

Recommendations

Info

midwife............................. 103 migration ............................ 90 Mikiri......................... 104, 157 military apparatus .............. 88 milky way.......................... 118 mime ................................... 83 minimalist music ................. 77 Minos........................... 89, 135 missionary . 101, 102, 116, 325 mmoatia............................ 120 modern man ....... 74, 164, 343 modernist school ................ 76 Mogya ....................... 109, 156 monochord . 38, 192, 193, 223 monodic . 18, 21, 82, 171, 173, 197, 212 Mossi ................................... 94 mother earth .................... 104 mother nature ..... 88, 96, 109, 186, 252, 273, 334, 335, 338 move-and-freeze ................ 52 movement dancing women movement ........................................ 104 multi-perspective.... 63, 72, 79 multiple rotation ................ 72 multiple souls... 105, 110, 151, 205, 213 Muntu ............................... 125 muse.... 96, 102, 136, 253, 296 mushroom........................... 87 musical apartheid ............... 18 musical unity....................... 53 musician19, 28, 31, 32, 39, 46, 48, 53, 55, 60, 62, 72, 73, 74, 79, 80, 83, 104, 156, 166, 168, 173, 212, 228, 383 249, 252, 283, 310, 315, 323, 341 African musician..... 26, 28, 40, 41, 43, 55, 78, 241, 294 jazz musician .. 47, 56, 81, 146, 305 musicking................ 74, 75, 82 musicologists ... 26, 28, 29, 42, 47, 49, 52, 55, 71, 73, 74, 79, 85, 146, 196 Muslim 91, 101, 104, 149, 170 Mut...................................... 98 muting 26, 34, 50, 58, 76, 194 mvet .......................... 117, 137 Mwine ............................... 116 myth of origin .................... 94 Namibia....................... 99, 140 Nana Buluku ....... 99, 116, 139 Nancy stories..................... 119 narrative ............. 86, 182, 315 nature spirit .. 87, 95, 105, 107 Ndembu .................... 116, 121 nebulae ............................. 118 necessity.......... 22, 23, 79, 310 negentropic ..... 268, 277, 279, 287, 291, 317 Neith ............. 89, 97, 102, 134 Neolithic............ 87, 88, 89, 90 neo-traditional ........... 50, 162 Nephthys............................. 98 Newtonian200, 201, 203, 231, 235, 279, 286, 317 Niger ..................... 90, 99, 118 Niger-Congo ....................... 90 Nigeria 90, 100, 104, 107, 119, 125, 138, 155, 157 Nigerian .... 83, 91, 92, 99, 126, 138, 144, 145, 168
384 Nigerian ... 83, 91, 92, 99, 126, 138, 144, 145, 168 Nile ............ 87, 88, 89, 97, 110 Nilo-Saharan ....................... 90 Nilotes ................................. 92 Nilotic............ 90, 92, 101, 271 Ninhursag............................ 88 Nkrabea............................. 109 nnwonkoro ................... 75, 97 Nok...................................... 90 Nommos .... 119, 138, 263, 271 Nordi ................................. 113 North Africa39, 88, 89, 90, 91, 92, 97, 102, 107, 132, 134, 135, 168, 170 North African88, 90, 102, 134, 135 nothingness ..... 117, 118, 216, 237, 242 Nothingness .............. 115, 312 novice.... 62, 79, 146, 305, 323 Ntoro......................... 109, 156 Ntwaaho ........................... 140 Nuer........................... 101, 126 Nun.................................... 113 nuor yin............................. 108 observer effect... 23, 183, 322, 324, 331 octave37, 38, 63, 71, 193, 210, 211, 223, 224, 225, 226, 227, 270, 271, 282, 283, 301 Odiong ................................ 99 Odomankoma................... 116 odonno........ 33, 44, 60, 61, 63 Oduduwa .................... 99, 253 Odwira .............. 110, 111, 131 offbeat . 19, 21, 26, 27, 31, 42, 43, 45, 46, 47, 48, 49, 51, 53, 60, 62, 64, 75, 77, 78, 94, 113, 115, 120, 122, 124, 215, 227, 229, 233, 239, 240 offbeating ............... 26, 42, 48 Ogbor.................................. 99 Ogun ................................. 119 Oha Ndi Nyiom ................. 104 Oko Ayi ............................... 99 Okra .................................. 109 Olodumare................ 116, 120 Omphalos Stones................ 88 onbeat.. 19, 20, 26, 32, 33, 34, 35, 48, 49, 50, 51, 61, 64, 65, 72 Onyame....... 99, 101, 116, 140 Onyankopon..... 107, 116, 140 opposite sex.............. 186, 252 oracular...... 87, 113, 119, 120, 136, 137, 138, 147, 149, 254 oral historian ...................... 87 orgy ................... 115, 136, 296 Oriental......... 66, 76, 181, 301 Oriental music .................... 76 Orinshanla .................. 99, 253 Osiris.... 98, 114, 252, 254, 269 ostinato......................... 32, 57 Ovambo .............................. 99 overrefinement .................. 81 over-statement ................... 76 Oyo.............................. 91, 144 pagan103, 114, 170, 181, 299, 300 Pale Fox............. 119, 147, 254 palm-wine......................... 120 pantheon ..... 94, 97, 105, 113, 116, 139, 149, 213
Page 1 and 2:
JOHN COLLINS African Musical Symbol
Page 3 and 4:
© 2005 John Collins This work was
Page 5 and 6:
4 Staggered Rhythms ...............
Page 7 and 8:
6 SECTION TWO: THE SPACE AND INFORM
Page 9 and 10:
8 THEMATIC CHAPTER EIGHT: FREEWILL
Page 11 and 12:
10 Figure 20: A circular TUBS diagr
Page 14 and 15:
FORWARD This book endeavours to mak
Page 16:
Legon and was appointed head of the
Page 19 and 20:
18 prestigious concert-halls and co
Page 21 and 22:
20 Africa. Another music reviewer c
Page 23 and 24:
22 In a parallel way classical scie
Page 26 and 27:
SECTION ONE: ANCIENT AFRICAN WISDOM
Page 28 and 29:
Besides the polarity of on/offbeat
Page 30 and 31:
American musicologist John Chernoff
Page 32 and 33:
According to the ethnomusicologists
Page 34 and 35:
Figure 5: TUBS diagram of the adowa
Page 36 and 37:
Tune, which A.M. Jones discovered,
Page 38 and 39:
Figure 10: Comparison of the Africa
Page 40 and 41:
were in use. These were based on a
Page 42 and 43:
that leave little living space insi
Page 44 and 45:
pattern by using the famous gestalt
Page 46 and 47:
would probably first put their atte
Page 48 and 49:
Figure 15: Expanded portion of the
Page 50 and 51:
language they turned the meaning in
Page 52 and 53:
Note in the above that as in the ag
Page 54 and 55:
Theme Four: Holism - The Collective
Page 56 and 57:
produce a third resultant wave-like
Page 58 and 59:
Theme Five: Circularity - Rhythmic
Page 60 and 61:
Figure 21: A circular TUBS diagram
Page 62 and 63:
Many rhythmic dialogues and overlap
Page 64 and 65:
long familiar to them and so they c
Page 66 and 67:
or only a few notes fall: number tw
Page 68 and 69:
Figure 25: Some acoustic mandalas o
Page 70 and 71:
like knowing where you live, so tha
Page 72 and 73:
dividable prime number seven which
Page 74 and 75:
To learn the required multiple rhyt
Page 76 and 77:
some light percussion instruments.
Page 78 and 79:
eactions to the Serial or Twelve To
Page 80 and 81:
ased on an apprentice system. The c
Page 82 and 83:
way to more roughly produced “pun
Page 84 and 85:
ecognised composers, virtuoso stars
Page 86 and 87:
CHAPTER TWO: THE TRADITIONAL AFRICA
Page 88 and 89:
economic arrangement, with the men
Page 90 and 91:
goddess of love was called Ishtar o
Page 92 and 93:
and the slash-and-burn cultivation
Page 94 and 95:
Figure 28: African states, ethnic g
Page 96 and 97:
fertilises the earth-goddess. Lower
Page 98 and 99:
men or women. 81 First on this topi
Page 100 and 101:
and the rivers. The Akan, Mende and
Page 102 and 103:
101 sub-Saharan African kings and c
Page 104 and 105:
103 Africa, as they had done in the
Page 106 and 107:
Theme Two: Relativity - Polytheism,
Page 108 and 109:
107 The third cornerstone of this t
Page 110 and 111:
109 thought to consist of the Sunsu
Page 112 and 113:
111 Galungan festival is held: equi
Page 114 and 115:
Theme Three: Hidden Space - Cosmic
Page 116 and 117:
115 offbeat behaviour were encourag
Page 118 and 119:
117 This difference does not end he
Page 120 and 121:
119 Placentas or Nommos. The vibrat
Page 122 and 123:
121 examples of these breaks in soc
Page 124 and 125:
123 Besides supplying spacing and b
Page 126 and 127:
125 animate matter. According to Ja
Page 128 and 129:
127 This notion of time being somet
Page 130 and 131:
Theme Five: Circularity - The Etern
Page 132 and 133:
Figure 35: Age-sets as Mandala (Mod
Page 134 and 135:
133 From the above Figure one can s
Page 136 and 137:
135 maze in the Minoan capitol of K
Page 138 and 139:
137 One hundred fifty years after P
Page 140 and 141:
139 The snake even gave its name to
Page 142 and 143:
141 the central pole with the ances
Page 144 and 145:
Theme Six: A Driving Touch of Asymm
Page 146 and 147:
Theme Seven: Mature Poise - Elders
Page 148 and 149:
147 regal level are the Akan Kings
Page 150 and 151:
149 Apollo became associated with t
Page 152 and 153:
151 It is at that moment that the m
Page 154 and 155:
Theme Eight: Freewill and Determini
Page 156 and 157:
155 The African Socio-Political Rea
Page 158 and 159:
157 one-stringed fiddle players of
Page 160 and 161:
159 drumming, women priests, divina
Page 162 and 163:
161 into stages heralded by rituals
Page 164 and 165:
163 engaged in lavish displays of w
Page 166 and 167:
165 orange, depleted uranium, etc.)
Page 168 and 169:
167 forces rather than to social ne
Page 170 and 171:
169 searching for a “cool” unde
Page 172 and 173:
171 helped spark-off voyages of dis
Page 174 and 175:
173 knowledge of the present state
Page 176 and 177:
REACTIONS AGAINST THE MECHANISTIC V
Page 178 and 179:
177 The disintegration of bedrock c
Page 180 and 181:
179 brain. Psychologists rather dis
Page 182 and 183:
181 have helped foster an artistic
Page 184 and 185:
183 into lemmings, bent on self des
Page 186 and 187:
Brain Lateralisation and Twin Psych
Page 188 and 189:
187 dichotomy is between the consci
Page 190 and 191:
189 many ways this is equivalent to
Page 192 and 193:
191 Both these above examples of li
Page 194 and 195:
193 The first illustration is of an
Page 196 and 197:
195 positive/negative atomic interf
Page 198 and 199:
THEMATIC CHAPTER TWO: RELATIVISM 19
Page 200 and 201:
199 previously mentioned fact that
Page 202 and 203:
201 In both the above Figures the t
Page 204 and 205:
203 Newtonian/Cartesian idea of a s
Page 206 and 207:
205 Empiricist associationism was t
Page 208 and 209:
207 According to Jung, an individua
Page 210 and 211:
Helmholtz’s Sound Spectrum 209 Th
Page 212 and 213:
211 Harry Partch thought forty-thre
Page 214 and 215:
213 ordinates either. Rather space-
Page 216 and 217:
THEMATIC CHAPTER THREE: HIDDEN SPAC
Page 218 and 219:
217 subconscious Id which, as noted
Page 220 and 221:
219 Some welcomed this new found li
Page 222 and 223:
221 that he called C, or the Cardin
Page 224 and 225:
223 theory came up against the prob
Page 226 and 227:
225 N.B. If one moves in the revers
Page 228 and 229:
227 capable of producing two arithm
Page 230 and 231:
229 upon the old notion of African
Page 232 and 233:
231 of energy. They called these pa
Page 234 and 235:
Figure 49: A Feynman Vacuum Diagram
Page 236 and 237:
235 surface of this bubble is calle
Page 238 and 239:
237 be sucked into the Black Hole,
Page 240 and 241:
239 the universe. The second is the
Page 242 and 243:
241 particular one that emerges is
Page 244 and 245:
243 structure” return things temp
Page 246 and 247:
THEMATIC CHAPTER FOUR: HOLISM 245 I
Page 248 and 249:
247 German writer Kohler observed t
Page 250 and 251:
249 string a melodic sequence toget
Page 252 and 253:
251 sequential logic. The IQ test i
Page 254 and 255:
253 the Greek one of Dionysus and D
Page 256 and 257:
255 These baser aspects of Christen
Page 258 and 259:
257 toilet-training; which then iro
Page 260 and 261:
259 As will be discussed again late
Page 262 and 263:
261 as diffuse interference pattern
Page 264 and 265:
263 Whether in the sonic or mental
Page 266 and 267:
THEMATIC CHAPTER FIVE: CIRCULARITY
Page 268 and 269:
267 maxima it will eventually contr
Page 270 and 271:
269 astrological zodiacs and the ph
Page 272 and 273:
271 Some African examples of fourne
Page 274 and 275:
Figure 55: The old Greek centred cr
Page 276 and 277:
Figure 56: An auto-catalytic chemic
Page 278 and 279:
277 Prigogine calls it: a topic tha
Page 280 and 281:
279 revolving zodiacs, from the phi
Page 282 and 283:
THEMATIC CHAPTER SIX: A DRIVING TOU
Page 284 and 285:
283 baroque times, when the interva
Page 286 and 287:
285 We now move from musical asymme
Page 288 and 289:
287 However, this state of final de
Page 290 and 291:
289 In which ever way human beings
Page 292 and 293:
291 On the aesthetic level we will
Page 294 and 295:
293 so pave a quick route to the ro
Page 296 and 297:
295 of a wise therapist) may help t
Page 298 and 299:
297 the random throw of yarrow stic
Page 300 and 301:
299 Europe rediscovered ancient Gre
Page 302 and 303:
301 modern version of Romanticism h
Page 304 and 305:
303 posits that what we treat as a
Page 306 and 307:
305 Conclusion Mature African maste
Page 308 and 309:
307 unity, the overt and internal,
Page 310 and 311:
309 meta or multi-discipline that e
Page 312 and 313:
311 African destiny, as revealed by
Page 314 and 315:
313 time with a five hundred televi
Page 316 and 317:
Constructionist, Deconstructionism
Page 318 and 319:
317 African ritual order is punctua
Page 320 and 321:
Quantum Consciousness 319 The indet
Page 322 and 323:
321 rejected gross materialism. In
Page 324 and 325:
THEMATIC CHAPTER NINE: THE PARTICIP
Page 326 and 327:
325 The idea of a subjective side o
Page 328 and 329:
327 an individual one. 380 Accordin
Page 330 and 331:
329 into a single planetary conscio
Page 332 and 333:
331 metastable hydrogen and handedn
Page 334 and 335: 333 As noted in this chapter the pa
Page 336 and 337: CODA 335 Twentieth century scientis
Page 338 and 339: Figure 58: Industrial disharmony (l
Page 340 and 341: 339 mechanistic, humanistic and eco
Page 342 and 343: 341 Fourthly: polyrhythmic African
Page 344 and 345: 343 the centuries much of it has be
Page 346 and 347: 345 Collins E. John. 1985. Music Ma
Page 348 and 349: 347 Pressing Jeff. 1983. “Cogniti
Page 350 and 351: 349 Bastide Roger. 1971. African Ci
Page 352 and 353: 351 Fortes Meyer. 1945. The Dynamic
Page 354 and 355: 353 Ogot B. & Kieran J. (eds). 1968
Page 356 and 357: 355 Willetts Ronald F. 1962. Cretan
Page 358 and 359: 357 Jung Emma & Franz Marie-Louise
Page 360 and 361: 359 Russell Bertrand. Introduction
Page 362 and 363: 361 Gardner Martin. 1967. The Ambid
Page 364 and 365: Abbess Hildegard von Bingen .......
Page 366 and 367: Egblewogbe, Eustace Yawo ..........
Page 368 and 369: Lorentz, Hendrik A. . 198, 199, 202
Page 370 and 371: Summers, Roger.................. 91
Page 372 and 373: Alom...............................
Page 374 and 375: Black Diaspora . 17, 23, 42, 52, 34
Page 376 and 377: African cosmos .................. 1
Page 378 and 379: elder . 118, 130, 145, 147, 151, 15
Page 380 and 381: Greece .... 39, 89, 98, 102, 135, 1
Page 382 and 383: jazz . 17, 18, 20, 21, 25, 28, 42,
Page 386 and 387: participatory mode.. 160, 162, 279,
Page 388 and 389: 203, 205, 213, 216, 218, 241, 245,
Page 390 and 391: ska ...............................
Page 392 and 393: 251, 262, 265, 268, 269, 278, 307,
Page 394 and 395: ACKNOWLEDGEMENTS 393 Brian Hercules
Page 396 and 397: 395 Richards; Karle, Mocho, July, C
Page 398 and 399: 397 Bartholomy; Butch Lacey; Patsy
show all

African Musical Symbolism In Contemporary Perspective - Saoas.org

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?