Theory Of African Music

Vol. 1 previously published in 1994 by F. Noetzel.

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.

Erudite and exhaustive, Gerhard Kubik’s Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures. In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malawˆ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture. Featuring a large number of photographs and accompanied by a compact disc of Kubik’s own recordings, Theory of African Music, Volume II, will be an invaluable reference for years to come.

Vol. 1 previously published in 1994 by F. Noetzel.

Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik's own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come [Publisher description].

The aim of this book is to stimulate debate by offering a critique of discourse about African music. Who writes about African music, how, and why? What assumptions and prejudices influence the presentation of ethnographic data? Even the term "African music" suggests there is an agreed-upon meaning, but African music signifies differently to different people. This book also poses the question then, "What is African music?" Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative "Afro-centric" means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate--and new thinking--among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples.

The 1st three volumes present material in a modular approach. Each volume presents progressively more advanced concepts in the categories: musical structure and form, factors of music appreciation, music instruments, music and society, research project, musical arts theatre, school songs technique, and performance. The 4th volume is a collection of essays. The 5th volume contains printed music.