Abstract
Several hints have been given in the last chapter concerning the vigorous, dynamic, outgoing nature of Central African musical expression. In specific terms, how uniform is this character and what does it mean? Do broad-leaped melodies, belligerent rhythms, and volcanic performance mark all tribal music? Furthermore, what does musical organization here signify in terms of pristine simplicity and sophisticated complexity, and what bearing, if any, does organization level have upon the leaping musical temperament?
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References
E. M. von Hornbostel, “African Negro Music,” International Institute of African Languages and Cultures, Memorandum 4 (1928), p. 52.
K. P. Wachsmann, “A Study of Norms in the Tribal Music of Uganda,” Ethnomusicology, Jr. of the Society for Ethnomusicology, I, 11 (Sept. 1957), pp. 9–16.
Cf. Rose Brandel, “Music of the Giants and the Pygmies of the Belgian Congo,” Journal of the American Musicological Society, V (1952), pp. 16–28.
Rose Brandel, “The Music of African Circumcision Rituals,” Journal of the American Musicological Society, VII (1954), pp. 52–62.
In addition to examples to be given above, parallel thirds appear in examples by George Herzog (Angola) and W. Heinitz (Tanganyika). See Herzog in Wilfrid Hambly, “The Ovimbundu of Angola,” Chicago: Field Museum of Natural History, Anthropological Series, XXI (1934), pp. 217–223; also
W. Heinitz, “Zwei Phonogramme aus Rutenganyo,” Vox, XXII (Dec. 1936), pp. 50–56. Parallel thirds among the Bemba of Northern Rhodesia are pointed out by
A. M. Jones in “East and West, North and South,” African Music, I, 1 (1954), p. 60.
Erich M. von Hornbostel, “Wanyamwezi-Gesänge,” Anthropos, IV (1909), pp. 781–800, 1033-1052.
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© 1961 Martinus Nijhoff, The Hague, Netherlands
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Brandel, R. (1961). The Music. In: The Music of Central Africa. Springer, Dordrecht. https://doi.org/10.1007/978-94-015-0997-8_4
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DOI: https://doi.org/10.1007/978-94-015-0997-8_4
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