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In
Search
of
Time
in
African
Music
RuthM.Stone
Time, as manifest in musical rhythm, has riveted the attention of several generations of inquiring ethnomusicologists,
comparativemusicologists, and before them travelersof many
sorts. Father Denis de Carlion a journeythroughthe Congo in
1666-67 remarked, "Thisharmonyis gratefulat a distance,but
harsh and ungrateful near at hand, the beating of so many
Sticks causing a great Confusion."' Though Father de Carli
may not have admiredthe rhythm,other sojournerswere more
appreciative. One explorer noted that the Bushman "sings
while he dances, swayinghis body about in stricttime with the
music."2Another said of the Kafir,
Theirnotionof melodyis veryslight,whiletheirtimeis perfection
itself,andtheveryfactthatseveralhundredmenwillsingthevarious
warsongsas if theywereanimatedby a singlespiritshowsthatthey
mustall keepthe mostexacttime.3
Today we recognize great variety in African musics. We also
stress here those musics without predominanceof Arabic and
Islamicinfluences.
The search for what makes African rhythmbeat has moved
on variouspaths, some provingmore popularthen others. The
quest began in earnest with the advent of the cylinderrecorder
'Michael Angelo and Denis de Carli, "A Curiousand Exact Account of a
Voyage to Congo in the Years 1666 and 1667," in A Collectionof Voyagesand
Travels,ed. A. and J. Churchill,4 vols. (London, 1704), 694.
2RichardWallaschek, PrimitiveMusic (London: Longmans, 1893), 1.
3Ibid., 4.
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140
MusicTheorySpectrum
Merriamis partiallyrightin assertingthat Westernersstudying African rhythmtake for grantedan equallyspacedunderlying pulse. That is, if we understandpulse as the smallest unit
that regularlyoccurs, then most researchershave made such an
assumption,at least implicitlyand at least as a way of measuring
what they have heard. Given the perspectiveof Westernmusic,
such a procedureis builton patternswith whichwe are familiar.
A crucialsubtlety, and one which Merriamdoes not mention,
develops at this point, however, for it does not follow that this
backgroundgrid of an equally spaced pulse must then determine that the beat constitutedof severalpulses at the next level
in the hierarchymust also be equallyspaced. It is preciselywith
the recognitionof unequalbeats composed of equalpulses that
ethnomusicologybegins to break out of a linearperspective.
Some Paths Taken
Additiverhythm.In African music then, in the midst of the
linear, a more mosaic approach breaks through in the literature. Additive rhythm, as described by Curt Sachs, is composed of beats that are not necessarily equal in length.7The
double-bell pattern of West Africa, which some researchers
have referredto as the timekeeper, can be analyzedas playing
beats of unequallength.
Figure1. Double-bell pattern
x * x *
double bell
beats
x*x
*x
xxxxx?xxxx
xx
xx*
*x
pulses
2+3
2 + 2 + 3 +
grouping
x = struck * = restorsustained
=12
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Figure2. Horizontalhemiola
x
X *
2+2+2+3+
x
X
=12
3
or
2+
2+
3+
2+3
=12
Figure3. Verticalhemiola
2+2+2+2+2+2
X *
X
2+2+
X
X*
X *
X X*
X *X
3 +
2+3
*X ?
x
Blacking's reference is much like the Kpelle chorus which favors individualsall singinginterlockingostinatopartsandwhich
15JohnBlacking, Process and Product in Human Society (Johannesburg:
WitwatersrandUniversity Press, 1969), 18.
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142
Mu,ic TheorySpectrum
The standardpattern, from what we now know, is not conceived by Africans throughcountingor quantitativemeans. Indeed, speech syllables qualitativelydifferentiatethe pattern,
syllables that duplicate the rhythmand convey timbralsubtleties. The crucial part played by timbre in rhythmis noted by
Roderic Knight:
Butin viewof the importanceof timbrein the drumming
technique,
abilitiesareat leastinpart
one mayconcludethathis[thedrummer's]
attributableto learningeach rhythmas a patternof timbresdifferenttimbresproducedby fourbasicstrokeson thedrum.23
Those four strokes in Lenjengo recreationaldancing in The
Gambia are played on the kutiridingo(a conical drum played
with one stick and one hand), as shown in Figure4.
19GerhardKubik, "Oral Notation of Some West and Central African
Time-Line Patterns," Reviewof Ethnology3, no. 22(1972):169-76.
20GerhardKubik, "The Emics of AfricanMusicalRhythm"(1983), unpublished MS.
21J.H. Kwabena Nketia, "TraditionalMusic of the Ga People," African
Music 2, no. 1(1958):21.
22JamesKoetting, "Analysis and Notation of West African Drum Ensemble Music," Selected Reports, Instituteof Ethnomusicology, UCLA 1, no.
3(1970):137.
23RodericKnight, "MandinkaDrumming,"AfricanArts 7(1974):29.
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Figure4. Kutiridingostrokes24
6
kum
ba
din
8.
K
B
D
da
*
Kum is played with an open hand that bounces off the head; ba
is a damped stroke producedwhen the fingershit the head and
press it to lessen the vibration.Din is an open-stickstroke, and
da is a damped-stick stroke. A range of timbral subtleties
emerge. This approachdoes not present the time line as nearly
linear as it might first appear when counted in a 2 configuration. Instead it can now become almost a pictureof contrasting
texturesjuxtaposed.
Motorpattern.As early as 1928ErichM. von Hornbostelasserted that motor patterns must be studied in order to understand the basis of African rhythms.25Though many disagree
with his conclusions, others have followed his lead in analyzing
body movement. GerhardKubikpoints to the need to consider
rhythm as consistingof not only acousticbut motor and visual
elements as well.26Moses Serwaddaand Hewitt Pantaleoni,for
example, show how drumming and dancing are inextricably
linked when they write, "In fact a drummerwill indicate the
dance motions sometimes as a way of explainingand teachinga
[drum] pattern."27In involving the motor, time becomes
24Ibid.,28.
25JohnBlacking, "Some Notes on a Theory of African RhythmAdvanced
by Erich von Hornbostel," African Music 1, no. 2(1955):12-20; Erich M. von
Hornbostel, "African Negro Music," Africa 1(1928):30-62.
26Kubik,"Mangwilo Xylophone Music," 35-41; GerhardKubik, "Transcription of African Music from Silent Film: Theory and Methods," African
Music 5, no. 1(1972):28-39; "Patterns of Body Movement in the Music of
Boys' Initiation in South-East Angola," in TheAnthropologyof the Body, ed.
John Blacking, ASA Monographs 15 (London: Academic Press, 1977), 25374.
27MosesSerwaddaand Hewitt Pantaleoni, "A Possible Notation for African Dance Drumming,"African Music4, no. 2(1968):52.
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144
MusicTheorySpectrum
For the Kpelle musicians of Liberia, transaction is constructedas a shiftingkind of layerednetwork. The soloist is always balancedby a respondingcounterpart(tomo-son-nuu).A
master drummerfinds his counterpartin the gbun-gbundrummer playing a cylindricaldrum. But in the fluidityof making
music, the chorusat anothertime is the counterpartor response
to the call of the soloist.33
Paul Berliner extends the transactionto include the instrument itself. A performancecannot be studied simplyfrom the
individualparts, for to the musician,
the musicreflectedbackto himby hisresonatoras he playsseemsto
be more complexthan that whichhis fingersaloneproduce.It is,
then,realmusicalfeedbackthatthemusicianreceivesfromhisinstrument.It maywellbe thatthisfeedbackis responsibleforsomemusiandits rolein themusic-making
cians'personification
process.34
John Blackinghighlightsthe notion of transactionas a value by
showingthat musiciansuse it, not out of necessity,but by choice
for aestheticpurposes:
Thus, performancesby combinationsof two or three playersof
rhythmsthatcan,in fact,be playedbyone arenotmusicalgimmicks:
in community,andof social,
they expressconceptsof individuality
which
are
foundin otherfeaturesof
and
balance,
spatial
temporal,
Vendacultureandothertypesof Vendamusic.35
What we are observing for African music exists, according
to EdwardT. Hall, for all humanbeings, thoughin manyWestern cases it remainslargelyunnoticed.That is, body movement
stems not from individualisticimpulse but from response to,
33RuthM. Stone, Let theInside Be Sweet:TheInterpretationof MusicEvent
Among the Kpelle of Liberia (Bloomington: IndianaUniversity Press, 1982),
81.
34Berliner,Soul of Mbira, 130.
35JohnBlacking, How MusicalIs Man? (Seattle: Universityof Washington
Press, 1973), 30.
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The expansion of a moment depends heavily, in Africansocieties, upon the nature of audience-performerinteraction.
The length of any song or, for that matter, the entire event
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146
MusicTheorySpectrum
Though little literatureon Africanmusicdocumentsthe fascinating dimension of inner time, several ethnomusicologists
provide initial insights. Alan Boyd, working in the Muslim
communityof Lamu, Kenya, describesa visible interplayof inner and outer time in the maulidievents, musicalperformances
that include recitations from the Koran interspersed with
hymns. Participantsmove towardinner time by coordinatinga
unison swayingmotion.
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all the other villagersseated aroundto follow him into the large
kitchenwherethe birahadpreviouslybeenheld.So as notto embarrassMude,we left himto hismusicandhistears.51
The evidence is abundantthat Mudewas focusinghis awareness
in inner time where, throughmusic, his experiencemoved him
to tears. Though we can only infer our conclusion, Mude was
apparentlynot concentratingon the timing of his music or the
physicalact of creatingit for that seemed quite automatic.
In Conclusion
In some respects, scholarshave studiedAfricantime in music for an extended period. In other respects, the researchhas
just started for only recently have the views of the Africans
themselves been taken seriously. From a study of the past, we
can glean some directionsthat ideas are moving, directionsthat
are, at best, tentative and which will surely shift as more data
becomes available.
Timein Africanmusic is multidimensional.FollowingAlfred
Schutz'smodel, time in music moves in a series of coordinated
dimensions. Some of these dimensionsare of "outer time" or
those that serve primarilyto coordinatethe individualsmaking
and experiencing music together. Others come from "inner
time," the subjectivelyexperiencedtime. The essentialpoint is
that musicaltime cannot be reducedto a single dimension.Musical time must be the coordinationof a numberof simultaneously experiencedflows. Muchof past researchhas centeredon
the study of the outer time dimension,and conclusionshave assumed a linear progression.We are here suggestingthat a mosaic concept of outer time may be more powerfulin describing
muchAfrican music-making.Inner time is yet to be studied to
any degree.
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148
MusicTheorySpectrum
Time in African music emphasizesqualitativeelements.Recent research stresses the essential concern demonstratedfor
timbralqualities by African musicians.Such attentionstresses
qualitativeaspects ratherthan the quantitativeaspectsso often
stressed in the Western orderingof time in music. Drummers
memorize mnemonic phrases that represent the subtleties of
timbre that they wish to produce rather than a numericalsequence of orderedpitches.
Time in African music emphasizesthe delineationof space.
Africanperformanceplaces considerablestresson qualitatively
distinguishingmusic by reference to space. Thus actionsoccur
in three-dimensionalspace and soundsoccurconceptually"under," "above," "outside," and "inside." In events such as
Kpelle epic performances, heroes characteristicallymove in
multipleplanes and spaces and are supportedby musicthatpeople think of in a spatial manner. Thus music in time assumesa
volume that contraststo Westernnotions of a more flat and linear progression.
Timein Africanmusicemphasizestheconceptof motion.African vocabulariesare rich in terms for describingeven slight
differencesin movement, and musiciansoften notice and comment on varieties of motion. Thus the idea of mosaic progression by no means implies a staticstate.
Thepast, in Africanmusic, is dynamicallymanipulatedin the
present. While the most is made of the present and music performancescenter on the present, the past is an equallyessential
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