African Rhythm

Africa ◽  
1954 ◽  
Vol 24 (1) ◽  
pp. 26-47 ◽  
Author(s):  
A. M. Jones
Keyword(s):  
Characteristic Feature ◽  
African Music ◽  
Late Professor ◽  
Musical Practice ◽  
Opening Paragraph

Opening ParagraphMost people are vaguely aware that the characteristic feature of African music is its rhythms. Some would say with the late Professor Hornbostel of Berlin that ‘it is syncopated past comprehension’; others would claim that any competent Western musician could reproduce African rhythms. Does the truth lie with either of these views or does it lie somewhere between them ? It is time we knew what Africans really do: and it is the purpose of this paper to give some account of the bases of their musical practice.

The Waswahili: The social history of an ethnic group

Africa ◽  
1975 ◽  
Vol 45 (4) ◽  
pp. 426-438 ◽  
Author(s):  
W. Arens
Keyword(s):  
Characteristic Feature ◽  
Ethnic Group ◽  
Social History ◽  
Analytical Approach ◽  
The Past ◽  
The Social ◽  
History Of ◽  
Opening Paragraph

Opening ParagraphDefinitional questions, such as ‘Who are the Waswahili’, posed by Eastman (1971) in this journal, appear to have been of little interest in the past, as many social anthropologists either ignored the problem or assumed that the answers were self-evident. However, those who have confronted this task have shown that simplicity and self-evidence is rarely a characteristic feature of the inquiry. Even classic ethnographic cases of supposed culturally homogeneous and distinct tribal groups are at present being re-examined in light of the renewed interest in this topic (cf. Helm, 1968). Whether or not the Nuer are the Dinka, or vice versa, it has been minimally established that such questions are legitimate and even fruitful in sharpening our analytical approach to subject populations.

Malinowski's ‘Functional’ Analysis of Social Change

Africa ◽  
1947 ◽  
Vol 17 (2) ◽  
pp. 103-121 ◽  
Author(s):  
Max Gluckman
Keyword(s):  
Functional Analysis ◽  
Social Change ◽  
Late Professor ◽  
The One ◽  
Opening Paragraph

Opening ParagraphThere can be no single right analysis of social change. The data are so complex and our tools as yet so crude that we must expect to work with various hypotheses and many types of abstractions. Some will be better instruments of analysis than others, and we must hope that we shall be able to subsume several of these in more comprehensive and consistent bodies of ordered knowledge. I immediately distrust such works as this latest polemic of the late Professor Malinowski's which is written in the strident terms of the one-and-only orthodoxy.

An Indian Dancer

Tempo ◽  
1948 ◽  
pp. 9-13
Author(s):  
W. H. Haddon Squire
Keyword(s):  
Strict Sense ◽  
Late Professor ◽  
Original Language ◽  
Emotional Effect ◽  
Ritual Dance

The late Professor Collingwood claimed that the dance is the mother of all languages in the sense that every kind or order of language (speech, gesture, and so forth) is an offshoot from an original language of total bodily gesture; a language which we all use, whether aware of it or not—even to stand perfectly still, no less than making a movement, is in the strict sense a gesture. He also relates the dance to the artist's language of form and shape. He asks us to imagine an artist who wants to reproduce the emotional effect of a ritual dance in which the dancers trace a pattern on the ground. The emotional effect of the dance depends not on any instantaneous posture, but on the traced pattern. Obviously, he concludes, the sensible thing would be to leave out the dancers altogether, and draw the pattern by itself.

Experiment role in the world music (based on the «The Road» album of the Ukrainian «Dakha Brakha» band)

2018 ◽  
pp. 215-227
Author(s):  
Iia Fedorova
Keyword(s):  
Folk Music ◽  
World Music ◽  
The Other ◽  
Modern Music ◽  
Musical Practice ◽  
The Road ◽  
Music Practice ◽  
The World ◽  
Binary Oppositions ◽  
Musical Practices

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

MUSIC KNOWS NO BOUNDARIES: THE CASE OF MME RANGWATO MAGORO

2015 ◽  
Vol 25 (1) ◽  
Author(s):  
M A Masoga
Keyword(s):  
Arts Education ◽  
African Music ◽  
Main Research ◽  
Educational Challenges ◽  
Apparent Shift

There is an apparent shift that challenges the so-called ‘established music fields’ to begin dialogue with African music perspectives. In the process of such dialogues and developments, there is a need to recast the importance of unmentioned, unsung and uncelebrated indigenous African music practitioners, composers, performers, poets, and praise singers. In this regard, musical arts education and its process cannot eschew broad educational challenges. The paper argues for the place of indigenous musical arts education experts in the current or mainstreamed musical arts processes. Mme Rangwato Magoro, from Malatane village in the greater Ga-Seloane community, is included as the main research collaborator in this brief piece of work.

South African Music in the History of Epidemics

2017 ◽  
Vol 54 (1-2) ◽  
pp. 87 ◽  
Author(s):  
Austin C. Okigbo
Keyword(s):  
South African ◽  
African Music ◽  
History Of ◽  
South African Music

Syntaxonomic survey of tundra belt mires of Khibiny mountains (Murmansk Region)

2001 ◽  
pp. 49-57 ◽  
Author(s):  
N. E. Koroleva
Keyword(s):  
Characteristic Feature ◽  
Murmansk Region

The paper deals with syntaxonomy of mountain mires in the lower oroarctic zone of Khibiny Mountains (Mur­mansk Re­gion). Six associations and one subassociation which belong to four alliances are described. Short characte­ristic of syntaxa and phytocoenological tables are given. Prevalence of mesophytic and hygro-meso­phytic species rather than true helophytic species is reported as a characteristic feature of these communities.

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