H6 AFRICAN MUSIC SOCIETY JOURNAL

REVIEWS
GRAHAM HYSLOP bas written a Magnificat and Nunc Dimittis (OUP, 1962) set to African melodies
for S.A.T.B.It is most welcome to note that composers are turning to the folksong of Mrica for musical
inspiration of one sort or another and Mr. Hyslop's example is a practical, tasteful and worthwhile piece
of composition. Yet I have a complaint about it and a strong one at that. I am disappointed that his
harmonization of the melodies is so insipid; the style belongs strictly to that school of twentieth-century
English church music which includes composers such as Charles Wood and Herbert Howells. However
important this school has been to the resuscitation of Anglican liturgical music its idiom and style is
indisputably foreign to anything African. All things considered in this day and age, it is musically wrong
to encase an Mrican melody based on one or another of the pentatonic scales with flabby diatonic triads.
The original strength and flavour of the melody is quickly removed and one then feels that the composer
may as well have chosen a Chinese, Argentinian or what-have-you tune.
My point is borne out when one compares the ways in which Liszt and Bartok have treated Hun-
garian folk tunes. The scheme for harmonization in this instance should have been worked out from the
melody itself even boldly using parallel fourths, fifths and octaves which is characteristic of much
African harmony. One receives the impression that Mr. Hyslop came across the tunes concerned and
wrote his composition with an ear not yet familiar with the "African sound". But this is a beginning
and it will be interesting to see and hear what development will take place in this direction in the music
of Mr. Hyslop and other composers of similar bent.
STANLEY GLASSER.

* * * * *

AFRICAN MUSIC IN GHANA!!)']. H. KWABENA NKETIA. Pp. 148 including 30 pp. music
transcription and 2 maps. Longmans, 1962. 30/-.
(Reprinted with the kjnd permission of the International African Institute)
This book, says Professor Nketia, is a general introduction to Ghanaian music and a basis for
future investigation. He discusses the social setting of musical activity and the occasions on which it is
used, types of music and of performing groups, vocal music, melody and harmony, and the rhythm of
songs. He includes a very short survey of musical instruments and a bibliography in which the references
to Ghanaian music are particularly welcome. There is no index.
While the book contains a lot of informative material, it produces a rather confused effect on the
reader, owing partly to the chapter lay-out which prevents the author from handling in the same
place, the various aspects of any one topic, and causes repetition, but chiefly to the literary mannerisms
- the author adopts an astonishingly complicated way of saying simple things.
As to harmony, the variety of available chords and chordal sequences is surprising - though
Professor Nketia in his final summary indicates that as a general rule, people- as elsewhere in Africa-
sing either in parallel octaves, fourths and fifths, or in parallel thirds.
In the ·transcriptions the music is all scored within conventional Western bar-lines; this, while
mathematically possible, seems dynamically questionable as it appears largely to disregard the irregular
melodic accents described in the text.
But what is most surprising is that the rhythmic aspects of drumming --- the exhibition par cxce/lmcc
of African musical genius are dealt with in less than one page.
A.M. Jones.

* * * * *
"THE MUSIC OF CENTRAL AFRICA" by ROSE BRANDEL. Martinus Nijhoff. The Hague. 1961,
XII and 272 pp. with 135 pp. of musical examples.
It is, unfortunately, still the conviction of several musicologists that transcribing music from
records or tapes without first-hand experience of the originals, is an adequate method of research in
Mrican music. Where this leads can be seen from Rose Brandel's recent book. Almost half the pages
are. cov:~red with diligent transcriptions from records, of which probably not a single one is either
adequate or c;orrect. I personally would·hesitate to transcribe from a record such a difficult and complex
piece as "Iranibi" played by the Makondere horn band of the Omukama of Bunyoro. But Dr. Brandel
 REVIEWS 117

is optimistic indeed and so inevitably she becomes the victim of the inherent rhythms which may appear
to be heard by the listener but are not played as such by any of the performers.
We have only space in this review to correct one of her transcriptions. The composition named
"Katego" (transcribed on page 221) for the Amadinda xylophone of the Ganda is very well known to
me since I have often played it myself with Ganda musicians. What she transcribes as "Katego" is, in
fact, another tune called "Kalagala ebwembe". Fortunately both tunes are equally well known to me.
Dr. Brandel starts well with the Omuna.zi's part, so long as he plays alone, (though I cannot agree
with her bar lines and meter). But as soon as the Omwawuzi starts, she is "off". The transcription does
not show which musician plays which part. Most probably Dr. Brandel could no£ know and could not
be expected to know from listening to the record only. Thus the nature of the third part, the OkHkonera,
is completely obscured. This part in her transcription (constantly related to the 3/ 4 bar scheme) would
appear to bring various chords into this Amadinda piece, such as seconds, thirds and fourths which in
reality do not exist at all in Amadinda music.
Worse examples even are her sheets of Ntara xylophone music (page 208) and the Enanga-harp
music of Temusewo Mukasa, whom she spells Timuso Mukasa and who, according to her, plays
"enonga" (page 218). ln the transcription of "The Executioner" nothing at all shows that the hands of
the harpist play two interlocking parts, like those played on the Amadinda. Instead of this she creates
all kinds of "paper" rhythms, which I cannot afford to call "inherent".
One would not criticize her for making these elementary though understandable mistakes, but
rather for trying to achieve the impossible and attempting to demonstrate the structure o f African music
from the analysis of gramophone records alone. The result is highly misleading in almost every case.
For Mrican instrumental music, particularly xylophone and mbira music, a safer method for
students who are not able to witness the performances would be to transcribe from cine films, though
naturally the m ost adequate way for any musicologist is to take lessons in Uganda, Congo or elsewhere
from the performers themselves before attempting to transcribe their rather complex techniques.
The following, Fig. I, shows what, in fact, the Kabaka's musicians were playing on the record she
analyses. Fig. II shows her own transcription which may prove interesting as an example of the difference
between what is actually played by the musicians and what to the listener appears to have been played .
.; = MM J<lO

•
Okuhanera
fa
Okwowu1a

)'= I
' d l

j 1 1:1 j i j i I j j i I j j i ITIID
il '~,,,, ~~~ 'ddJj

j j j j j
l l j 1 ± 1i .....
j ] t j j d 1 j j j-
_r
Fig. I
118 AFRICAN MUSIC SOCIETY J OCRNAL

Fig. II

Besides this, she makes another g rave mistake in the ling uistic field. ller approach to the words
of the songs as they arc heard o n the record is extremely unscienritic. In the transcription of vocal music
covering a wide fie ld of African languages, she only reproduces the syllahles of the supposed words,
as they sound to her from the record. T he result is a "text " being completely unintcll igihle, and that to
such a de~ree, indeed, that one has difficulty to tind out what language she is transcribing!
Fo r these and several other basic errors of transcription which occur throughout the w hole work
I can o nly hope for the sake of accuracy that her b• ., ok w ill not be taken as a reliable addition to the
underaanding of African music. This is all the more reg rettable as she has clearly devoted much ti me
and la' •our in an unpro titable directio n, wh ich for this reviewe r masks w hatever virrucs her book might
othe•wisc have had.
Gerhard Kubik.

Key to the transcription :

E uropean tempered
scale: (for com-
parison)
c C# D E~ E F F# G A~ A B~ B c
Amadinda scale:
+ I ~ I I 1 I I· I I ~ +
Names of notes
(in L uganda):
BA FE KI ]0 vu BA
Transcribed in c D £+ G A+ c
staff no tation as:
V.p .s. 172 194 228 260 304 344
(as measured by 388 456 520 608 688
Hugh Tracey in 776
K ampala, 1952)

ent ranc~ of "Okwawul:a" and "Okukoncra"' ha\'e been transcribed two cho ruses earlier than
N ote.- To avoid paper-wasting repetitio n the
on the record. Also a few ~lodic mistakes happening co chc Omunazi at the beginning of his .. Okunaga .. pan in the reco rd have
flO/ been reproduced here.