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- W241031275 abstract "The nuances, sonorities, and repetition of African music render it difficult, strange, and unattractive to the uninitiated listener. In fact, some have claimed (Jones and Kombe, 1952) that the difficulties in analyzing African music are stupendous. In spite of this general concept there has been an increased interest in African music by scholars, linguists, musicologists and others. African music is part of an integrated oral tradition handed down for centuries from one generation to the next. Akin Euba (1970) has classified African music into five basic categories with traditional music as the oldest and most common form of African music. According to Gbeho (1954), traditional music is an integrated art form including drumming and dancing as part of its inseparable elements. In trying to comprehend the diverse rhythms of these musical cultures, many have sought different ways to annotate the rhythms therein. Those who have applied (Koetting, 1970: 25) the western system of notation to African rhythms have experienced its disadvantages. The western system of notation is not flexible enough to annotate the sonorities and nuances of percussion instruments. There have been several notational approaches to African music, mechanical as well as written. The works of Jones and Kombe (1952a), Philip Harland" @default.
- W241031275 created "2016-06-24" @default.
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- W241031275 date "1977-12-01" @default.
- W241031275 modified "2023-10-02" @default.
- W241031275 title "The Liberation of African Music" @default.
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- W241031275 doi "https://doi.org/10.1177/002193477700800203" @default.
- W241031275 hasPublicationYear "1977" @default.
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