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    Chernoff

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    Andras Halmos
    1) African music features cross-rhythms with at least two rhythms occurring simultaneously rather than a single unifying beat. 2) Rhythm is responded to rather than followed, with call-and-response between solo and chorus parts. 3) Respecting an established rhythmic framework allows for comprehensive improvisation while still maintaining structure.

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    Chernoff

    Uploaded by

    Andras Halmos
    247 views2 pages
    1) African music features cross-rhythms with at least two rhythms occurring simultaneously rather than a single unifying beat. 2) Rhythm is responded to rather than followed, with call-and-response between solo and chorus parts. 3) Respecting an established rhythmic framework allows for comprehensive improvisation while still maintaining structure.

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    african music

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    1) African music features cross-rhythms with at least two rhythms occurring simultaneously rather than a single unifying beat. 2) Rhythm is responded to rather than followed, with call-and-response between solo and chorus parts. 3) Respecting an established rhythmic framework allows for comprehensive improvisation while still maintaining structure.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as DOC, PDF, TXT or read online from Scribd
    Download as doc, pdf, or txt
    247 views2 pages

    Chernoff

    Uploaded by

    Andras Halmos
    1) African music features cross-rhythms with at least two rhythms occurring simultaneously rather than a single unifying beat. 2) Rhythm is responded to rather than followed, with call-and-response between solo and chorus parts. 3) Respecting an established rhythmic framework allows for comprehensive improvisation while still maintaining structure.

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    "African Music" John Miller Chernoff excerpted from African Music University of Chicago Press, 19 9 Chernoff!

    s most famous "oo# is African Rhythm and African Sensibility $University of Chicago Press,19%1&' (e has also )ritten a novel Hustling Is Not Stealing: Stories of an African Bar Girl $University of Chicago Press, *++,&

    1& -esterners divide music into standard units of time, indicating )hen the next chord is li#ely to come a& rhythm lin#s different notes to each other "& most instruments play their notes at the same time c& a se.uence of notes starts )hen )e count "/ne" d& rhythm is something )e follo)0 determined )ith reference to melody e& special )ord "syncopation" for uneven rhythm f& rhythm is secondary to melody and harmony0 "eauty is the progression of sound through chords or tones *& African music a& there are al)ays at least t)o rhythms going on "& there is no unifying or main "eat c& to )esterners listening it seems "out of time" d& the conflicting rhythmic patterns and accents are cross1rhythms e& "ut to a sensitive ear one rhythm defines another i& 2"rahim A"dulai could not "hear" his variations )ithout a second dondon ,& 3hythm as something to "get )ith" vs' to "respond to" a& there is a dominant conversation from solo to chorus or to instrumental reply "& "call1and1response" c& African1American examples0 James 4ro)n, etc' d& repetition of responsive rhythms is the African alternative to the development of a melodic line e& social encounters also re.uire this flexi"ility of dialogue to maintain poise f& single1mindedness of purpose )ould "e poverty of expression g& one connects one!s self image )ith )hat others see one doing0 sitting alone at a "ar example 5& respect for an esta"lished rhythmic frame)or# provides the possi"ility for comprehensive improvisation a& Africans use styli6ed social forms and conventions to achieve interpersonal intimacy "& distinctive personality can stand out against structure c& Africans rituali6e their lives

    7& model of community0 a com"ination of diverse rhythms )hich must remain distinct a& community too is ordered through time "& music is used to "uild context for community action c& rituali6ed opposition of distinct personalities d& a listener )ill punctuate the spea#er!s phrases )ith noises as sho)ing involvement e& "roader tendency to situate conflicting and opposing forces in mediated "alanced communication

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