• Tidak ada hasil yang ditemukan

African Music Vol 5 no 3(Seb).cdr

N/A
N/A
Protected

Academic year: 2023

Membagikan "African Music Vol 5 no 3(Seb).cdr"

Copied!
4
0
0

Teks penuh

(1)

VOLUME 5 1973/4 NUMBER 3

AFRICAN MUSIC ·

JOURNAL OF THE AFRICAN MUSIC SOCIETY

JOUR NAL D E LA SOCIETE D E MUSIQUE AFRICAINE

PRICE R6.00 (S.A.) or $, £at the current rate,

(2)

AFRICAN MUSIC SOCIETY

Hon. Secretary:

Hugh Tracey, D.Mus.Hon., F.R.A.I. (Hon.)

Hon. Treasurer:

A. P. Domleo, Esq.

Editor:

Andrew Tracey, M.A., Esq.

The Society welcomes applications for Membership from individuals and Associations who are interested in the study of African music and other arts.

The subscription to this issue is R6.00; the next issue will, unavoidably, be higher.

The Society's Journal is sent to Members annually, together with the invoice for the current year's membership. Members renew their subscription, however, at the beginning of the calendar year if they prefer.

Correspondence should be addressed to:

The Hon. Secretary, African Music Society, P.O. Box 138, Roodepoort, 1725, Transvaal, S. Africa.

COVER ILLUSTRATION

Figure carrying a bull roarer, the 'Baboon-man' (Breuil), rock painting from the Brandberg, South West Africa- Namibia. Sketch by J. R. Harding. (See her article on p. 40: 'The Bull Roarer in History and Antiquity' to which this is an illustration.)

(3)

AFRICAN MUSIC

JOURNAL OF THE AFRICAN MUSIC SOCIETY

JOURNAL DE LA SOCIETE DE MUSIQUE AFRICAINE

Publithed by

AFRICAN MUSIC SOCIETY P.O. Box 138, RpoDBPOORT, TRANSVAAL,

SoUTH AFRICA

and printed by

PRmR AND MUNRO (PTY) LTD, BENROSB, JOHANNESBURG

All rights reserved

(4)

CONTENTS

CONTENTS

EDITORIAL

1. A MoDEL FOR THE STuDY OF AFRICAN Music

Mosunmola Omibiyi .

2. AFRICAN Music IN CHRISTIAN LITURGY: THE IGBO EXPERIMENT

Lazarus Nnanyelu Ekwueme

3. SOME SOURCES OF MUSIC IN WESTERN SUDAN FROM 1300-1700 Veit Erlmann

4. THE BULL-ROARER IN HISTORY AND IN ANTIQUITY

]. R. Harding S. Luo MuSIC AND ITS RHYTHM

A. M. ]ones

6. SOME PRELIMINARY NOTES ON THE MuSIC OF THE CWEZI CULT IN ANKOLE (WESTERN UGANDA)

Paul van Tbiel

7. RECHERCHE ETHNOMUSICOLOGIQUE AU RWANDA

] os Gansemans .

8. SoME PATTERNS OF RHYTHM AND HARMONY IN KALUMBU Music

Marjory Davidson 9. THE KONDI OF SIERRA LEONE

Cootje van Oven

10. MOHAMBI XYLOPHONE MuSIC OF THE SHANGANA-TSONGA

Thomas F. Johnston

11. LETTERS TO THE EDITOR

12. REVIEWS

13. NoTEs AND NEws

14. CONTRIBUTORS AND CONTRIBUTIONS

1S. AFRICAN Music SociETY: REcoRDS AND BooKs FOR SALE;

new catalogue for the 'Sound of Mrica' series

Nigeria

Kenya

Uganda

Rwanda

Zambia

Sierra Leone

Mozambique, South Africa

3

page

s

6

12

34

40

43

ss

6S

70

77

86

94 98

10S 39, 107

108

16. MAP AND ORIGIN OF ARTICLES Outside Back Cover

The opinions e:q>ressed by contributors are

personal and are not necessarily those of the Mrican Music Society.

Referensi

Dokumen terkait

Sometimes the vocal patterns actually start in parallel 4ths or Sths, which gives the impression that this is a kind of rudimentary harmony and not a combination of melodies, until one

There is, for example, the discussion of the way "the various styles of Venda music reflect the variety of its social groups and the degree of their assimilation into the body politic";

Particularly spell-binding are the intriguing Xhosa shaking dances, sensational high kicking Ndlamu dance of the Zingili Zulu and somewhat humorous tumbling dance of the Ndau..

The melody for each of these three is exactly the same length as one nyatiti tune, and is linked to the gara in that the first accented syllable of the Cantors' and Chorus tune falls on

So frequent are his references to cinematic representations of Afriean dances that one receives the impression that his first-hand knowledge and experience of Africa are probably

Chapter 10 describes the functions of music and musicians, past and present; chapter 11, the social status and the role of the musician; chapter 12, music in the life cycle; chapter

He reaches the interesting conclusion that the speech sounds of these phrases convey much more than the mere rhythmic values; they also "reflect the intrarhythmic and timbre-sequence

The band notes are devoted almost entirely to music structural description, and are uninformative ethnographically; the reader emerges with virtually no sense of music in its society