Ebook African Polyphony and Polyrhythm: Musical Structure and Methodology, by Simha Arom
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African Polyphony and Polyrhythm: Musical Structure and Methodology, by Simha Arom
Ebook African Polyphony and Polyrhythm: Musical Structure and Methodology, by Simha Arom
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In this detailed study Simha Arom takes a new and original approach to the understanding of the complex and sophisticated patterns of polyphony and polyrhythm that characterise African music. Considering in particular the harp, sanza, xylophone and percussion music of Central Africa, Simha Arom develops a rigorous method for the analysis of the music and for the recording and deciphering of the many strands of polyphony and polyrhythm. Through a systematic breakdown of the many layers of apparently improvised rhythm he reveals the essential structure which underlies this rich and complex music. Inspired also by linguistic techniques, Professor Arom regards the music very much as a grammatical system.
- Sales Rank: #1547574 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2004-12-02
- Original language: French
- Number of items: 1
- Dimensions: 9.72" h x 1.42" w x 6.85" l, 2.21 pounds
- Binding: Paperback
- 700 pages
- Used Book in Good Condition
Review
In this detailed study Simha Arom takes a completely new and original approach to the understanding of the complex and sophisticated patterns of polyphony and polyrhythm that characterize African music. Considering in particular the harp, sanza, xylophone and percussion music of Central Africa, the book is both an examination of the fundamental musical principles in African music and a practical guide for those involved in the recording of oral polyphonic musics. The importance of Simha Arom's work lies in his development of a rigorous method for the analysis of the music and for the recording and deciphering of the many strands of polyphony and polyrhythm. Through a systematic breakdown of the many layers of apparently improvised rhythm he reveals the essential structure that underlies this rich and complex music. Inspired also by linguistic techniques, Professor Arom regards the music very much as a grammatical system. -- Book Description
Language Notes
Text: English (translation)
Original Language: French
Most helpful customer reviews
9 of 10 people found the following review helpful.
Thorough and multifaceted coverage of a fascinating topic
By A Customer
Arom's treatment of African music is fantastic. The reader will benefit from Arom's direct experiences with African music in many ways. Not only does he provide musical transcriptions, but also discusses the equipment and techniques used for recording. He also discusses the social aspects of the music, which are inseparable from it. There is a large section in which he shares the results of his musical analysis--specifically, the ways in which he categorizes African music based on their rhythmic activity. He creates his own analytical methdologies and creates very specific terminology to describe the rhythmic structures found in African music. As a graduate student in music theory I found this book very helpful in my research and analysis of composers who try to emulate the rhythmic structures and phenomena found in African music. It's a terrific resource.
2 of 2 people found the following review helpful.
Review & ERRATA
By Mr. Jose A. Sotorrio
I spent about a year-and-a-half working through 'African Polyphony and Polyrhythm' (by Simha Arom), practicing and recording the musical examples myself. There might be some confusion as to why the original recordings were not included with the book, the reason being, that the original multitrack tapes required expert interpretation (involving interaction with the Aka people themselves) to form the necessary sets and models from parts analysed individually and then in combination. This involved 'parsing' the recorded material, rather than simply reproducing it in score. However, there was a CD-ROM published in French as "Pygm�es Aka, Peuple et Musique", which contained audio examples and even an interactive sequencer allowing the user to recombine recorded fragments to form various versions of selected Aka formulae. I managed to acquire a copy with great difficulty, as this is no longer on sale due to the (now) almost obsolete format. Although it is interesting to hear the isolated parts performed by the Aka themselves, it is important to remember that even the Aka do not hear their own parts in isolation but only as part of an interwoven polyphony. One obvious criticism is the (seemingly inexplicable) absence of any in-depth discussion on vocal music, although it is explained how songs rather ingeniously form the melodic basis of horn hocket models.
ERRATA: I have found a few errors in the English translation of book VI. Those that might cause a few problems arise in the chapter `Strict Polyrhythmics'. (#1} At the top of page 248 (i.e. `the principle of inserting binary quantities into configurations bound by ternary quantities') there are, strictly speaking, three possible ways to correct the paradigmatic representation. Either the `24 minimal values' should read: `20 minimal values', or the corresponding values should read: |3.|2.2.2.2 |3.|2.2.2.2.2 to account for 24 minimal values. Alternatively, a fifth row could be inserted to include both 20 and 24 minimal values. However, since the former (20) does not apply to Central African rhythmics, I suggest it should be corrected to account for 24 minimal values. (#2} From page 272, the part of the g�s� drum for the Yasm�l� dance is (probably) inventoried in ex.82 not ex.80, so the inventory for the agoa dance is likely to be ex.80 (and certainly not ex.81 as stated, which shows `all the realisations in the first pulse of the initial figure' extracted from both the Yam�l� and agoa dances). The reason I make this assumption is that the g�s� drum variations for the agoa dance are inventoried again on page 641, this time corresponding to ex.80 not ex.82, which is less likely to be in error. (#3) On Page 284, ex.98, the first kp�l� part should have dotted quavers and not dotted crotchets. (#4} On Page 297, ex.120, the clap at position 21 should be at position 22 to reflect the isochronous handclaps in the (middle) part. (Incidentally, the polyrhythmic substructure of this rite is said to have 'hemiola-like' interweaving, when in fact there is literally a hemiola relationship between the accents of mo.kongo and the durations of the iron stips part at the beginning of each 'hemistich'.) (#5} On page 305, ex.129, the ngu� part of the m�.k�ndi model is incorrect. The attacks should occur at positions 1, 4, 5, 8, 9, 10, 13, 16, 17, 20, 21, and 22. (#6} In `The association of Polyphony and Polyrhythmics' chapter on page 636, the box representing the period of the `song and harp' in the diagram of fig.7 is too short, and should be extended to correspond to two periods of the `Double bell 2' and four periods of `Double bell 1', since it stands at a ratio of 2:1 and 4:1 with these parts respectively.
Jos� A. Sotorrio
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