Pygmy music: Difference between revisions

Add links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
textdumpmergefrom Liquindi per notdic
textdumpmergefrom liquindi, copy edit
Line 1: Line 1:
The [[Pygmy|Pygmies]] are a broad group of people who live in [[Central Africa]], especially in [[Democratic Republic of the Congo|the Congo]], the [[Central African Republic]] and [[Cameroon]]. Music is an important part of Pygmy life, and casual performances take place during many of the day's events. Music comes in many forms, including the spiritual [[likanos]] stories, [[vocable]] singing and music played from a variety of instruments.
''[[Pygmy]] music'' includes the [[Sub-Saharan African music traditions of a broad group of people who live in [[Central Africa]], especially in [[Democratic Republic of the Congo|the Congo]], the [[Central African Republic]] and [[Cameroon]]. Music is an important part of Pygmy life, and casual performances take place during many of the day's events. Music comes in many forms, including the spiritual [[likanos]] stories, [[vocable]] singing and music played from a variety of instruments including the [[bow harp]] (''ieta''), ''[[ngombi]]'' ([[harp zither]]) and ''[[limbindi]]'' (a string bow).


Researchers who have studied Pygmy music include [[Simha Arom]], [[Luis Devin]], [[Louis Sarno]], [[Colin Turnbull]] and [[Jean-Pierre Hallet]].
⚫
Some of the Pygmies, specifically the Mbenga ([[Aka people|Aka/Benzele]] and [[Baka people (Cameroon and Gabon)|Baka]]) in the west and the [[Mbuti]] (Efé) in the east, are particularly known for their dense [[counterpoint|contrapuntal]] communal [[improvisation]]. [[Simha Arom]] says that the level of [[polyphonic]] complexity of Mbenga–Mbuti music was reached in Europe only in the 14th century.<ref>Aimard, Pierre-Laurent; Ligeti, György; Reich, Steve; Arom, Simha; and Schomann, Stefan (2003). Liner notes, ''African Rhythms''. Music by [[Aka (Pygmy tribe)|Aka]] Pygmies, performed by Aka Pygmies; Ligeti and Reich, performed by Aimard. Teldec Classics: 8573 86584-2.</ref>


⚫
The Mbenga ([[Aka people|Aka/Benzele]] and [[Baka people (Cameroon and Gabon)|Baka]]) pygmies in the west and the [[Mbuti]] (Efé) in the east are particularly known for their dense [[counterpoint|contrapuntal]] communal [[improvisation]]. [[Simha Arom]] says that the level of [[polyphonic]] complexity of Mbenga–Mbuti music was reached in Europe only in the 14th century.<ref>Aimard, Pierre-Laurent; Ligeti, György; Reich, Steve; Arom, Simha; and Schomann, Stefan (2003). Liner notes, ''African Rhythms''. Music by [[Aka (Pygmy tribe)|Aka]] Pygmies, performed by Aka Pygmies; Ligeti and Reich, performed by Aimard. Teldec Classics: 8573 86584-2.</ref> The polyphonic singing of the Aka Pygmies was relisted on the [[Representative List of the Intangible Cultural Heritage of Humanity]] in 2008.
The polyphonic singing of the Aka Pygmies was relisted on the [[Representative List of the Intangible Cultural Heritage of Humanity]] in 2008.


== Formal classification ==
== Formal classification ==


Formally, Mbenga–Mbuti Pygmy music consists of at most only four parts, and can be described as an, "[[ostinato]] with [[variation (music)|variations]]," or similar to a [[passacaglia]], in that it is cyclical. In fact it is based on repetition of periods of equal length, which each singer divides using different rhythmic figures specific to different repertoires and songs. This interesting case of [[Ethnomusicology]] and [[Ethnomathematics]] creates a detailed surface and endless variations of not only the same period repeated, but the same piece of music. As in some [[Bali]]nese [[gamelan]] music, these patterns are based on a super-pattern which is never heard. The Pygmies themselves do not learn or think of their music in this theoretical framework, but learn the music growing up.
Mbenga–Mbuti Pygmy music consists of up to four parts and can be described as an "[[ostinato]] with [[variation (music)|variations]]" similar to a [[passacaglia]] in that it is cyclical. It is based on repetition of periods of equal length that each singer divides using different rhythmic figures specific to different repertoires and songs. This creates a detailed surface and endless variations not only of the same period repeated but of various performances of the same piece of music. As in some [[Bali]]nese [[gamelan]] music these patterns are based on a super-pattern which is never heard. The Pygmies themselves do not learn or think of their music in this theoretical framework, but learn the music growing up.


⚫
Polyphonic music is only characteristic of the Mbenga and Mbuti. The [[Gyele people|Gyele/Kola]], [[Great Lakes Twa]] and [[Southern Twa]] have very different musical styles.
Pygmy styles include [[liquindi]], or [[water drumming]], and instruments like the [[bow harp]] (''ieta''), [[ngombi]] ([[harp zither]]) and [[limbindi]] (a string bow).


==Pygmy scale==
==Pygmy scale==
The '''Pygmy''' scale is a minor [[pentatonic scale]] and follows the sequence of steps: tone, half tone, ditone, tone + half tone and tone. The use of a half tone makes it a Hemitonic scale. A Pygmy scale in C would consist of the notes: C, D, Eb, G and Bb.
The typical '''Pygmy''' scale is a minor [[pentatonic scale]] and follows the sequence of steps: tone, half tone, ditone, tone + half tone and tone. The use of a half tone makes it a Hemitonic scale. A Pygmy scale in C would consist of the notes: C, D, Eb, G and Bb.

It is related to the [[natural minor scale]], the differences being the removal of both the perfect 4th and the minor 6th. This removal of the 4th creates a large interval in the sequence. For the listener this can evoke a yearning quality to music played within its structure.


Use of the Pygmy scale has grown in popularity since the invention of the [[Hang (instrument)]] in the year 2000, [[handpan]]'s such as the Halo and also [[steel tongue drum]]s, all of which have been made using sound models based on the Pygmy scale.
Use of the Pygmy scale has grown in popularity since the invention of the [[Hang (instrument)]] in the year 2000, [[handpan]]'s such as the Halo and also [[steel tongue drum]]s, all of which have been made using sound models based on the Pygmy scale.
Line 30: Line 28:


Also in 1992 Martin Cradick and [[Su Hart]] were staying and recording Baka in Cameroon. The result of this voyage was the creation of the band [[Baka Beyond]] and the release of their collaboration with the Baka musicians, "Spirit of the Forest" alongside the album "Heart of the Forest", a collection of traditional songs and music. Proceeds from both these albums have returned to the Baka musicians through the charity Global Music Exchange which continues to work with the Baka helping them in their rapidly changing environment.
Also in 1992 Martin Cradick and [[Su Hart]] were staying and recording Baka in Cameroon. The result of this voyage was the creation of the band [[Baka Beyond]] and the release of their collaboration with the Baka musicians, "Spirit of the Forest" alongside the album "Heart of the Forest", a collection of traditional songs and music. Proceeds from both these albums have returned to the Baka musicians through the charity Global Music Exchange which continues to work with the Baka helping them in their rapidly changing environment.

==Other Pygmies==
⚫
Polyphonic music is only characteristic of the Mbenga and Mbuti. The [[Gyele people|Gyele/Kola]], [[Great Lakes Twa]] and [[Southern Twa]] have very different musical styles.


==Discography==
==Discography==
Line 50: Line 45:
*[[Twa peoples]]
*[[Twa peoples]]
*[[Efé people|Efé]]
*[[Efé people|Efé]]

''Researchers who studied Pygmy music:''
*[[Simha Arom]]
*[[Luis Devin]]
*[[Louis Sarno]]
*[[Colin Turnbull]]
*[[Jean-Pierre Hallet]]


==Sources==
==Sources==

Revision as of 20:32, 3 September 2013

Pygmy music includes the [[Sub-Saharan African music traditions of a broad group of people who live in Central Africa, especially in the Congo, the Central African Republic and Cameroon. Music is an important part of Pygmy life, and casual performances take place during many of the day's events. Music comes in many forms, including the spiritual likanos stories, vocable singing and music played from a variety of instruments including the bow harp (ieta), ngombi (harp zither) and limbindi (a string bow).

Researchers who have studied Pygmy music include Simha Arom, Luis Devin, Louis Sarno, Colin Turnbull and Jean-Pierre Hallet.

The Mbenga (Aka/Benzele and Baka) pygmies in the west and the Mbuti (Efé) in the east are particularly known for their dense contrapuntal communal improvisation. Simha Arom says that the level of polyphonic complexity of Mbenga–Mbuti music was reached in Europe only in the 14th century.[1] The polyphonic singing of the Aka Pygmies was relisted on the Representative List of the Intangible Cultural Heritage of Humanity in 2008.

Formal classification

Mbenga–Mbuti Pygmy music consists of up to four parts and can be described as an "ostinato with variations" similar to a passacaglia in that it is cyclical. It is based on repetition of periods of equal length that each singer divides using different rhythmic figures specific to different repertoires and songs. This creates a detailed surface and endless variations not only of the same period repeated but of various performances of the same piece of music. As in some Balinese gamelan music these patterns are based on a super-pattern which is never heard. The Pygmies themselves do not learn or think of their music in this theoretical framework, but learn the music growing up.

Polyphonic music is only characteristic of the Mbenga and Mbuti. The Gyele/Kola, Great Lakes Twa and Southern Twa have very different musical styles.

Pygmy scale

The typical Pygmy scale is a minor pentatonic scale and follows the sequence of steps: tone, half tone, ditone, tone + half tone and tone. The use of a half tone makes it a Hemitonic scale. A Pygmy scale in C would consist of the notes: C, D, Eb, G and Bb.

Use of the Pygmy scale has grown in popularity since the invention of the Hang (instrument) in the year 2000, handpan's such as the Halo and also steel tongue drums, all of which have been made using sound models based on the Pygmy scale.

Liquindi

Liquindi is water drumming, typically practiced by Pygmy women and girls. The sound is produced by persons standing in water, and hitting the surface of the water with their hands, such as to trap air in the hands and produce a percussive effect that arises by sudden change in air pressure of the trapped air. The sound cannot exist entirely in water, since it requires the air-water boundary as a surface to be struck, so the sound is not hydraulophonic.

Western popularization

Colin M. Turnbull, an American anthropologist, wrote a book about the Efé Pygmies, The Forest People, in 1965. This introduced Mbuti culture to Western countries, many of whose inhabitants were intrigued by the seemingly simple lifestyle they led. Turnbull claimed that the Mbuti viewed the forest as a parental spirit that could be communicated with via song.

Some of Turnbull's recordings of Efé music were commercially released, and inspired more ethnomusicological study, such as by Simha Arom, a French-Israeli who recorded a kind of whistle called hindewhu, and by Luis Devin, an Italian ethnomusicologist who studied in depth the musical rituals and instruments of Baka Pygmies, also by taking part in their secret rite of initiation. Some tracks were then used by Bill Summers, Herbie Hancock's percussionist, in the song "Watermelon Man" (see hocket).

In 1992, the popularization of Pygmy music spread with the release of Eric Mouquet and Michel Sanchez's Deep Forest. Though the fusion of New Age spirituality with sampled Pygmy music and soft techno was heavily criticized by music purists, the album was a multi-million selling success. Soon after its release, controversy continued amid accusations that none of the money made from recording was given to the Pygmy performers. Despite the controversy, a percentage of the proceeds from each album were donated to the Pygmy Fund set up to aid Zaire's Pygmies.

Also in 1992 Martin Cradick and Su Hart were staying and recording Baka in Cameroon. The result of this voyage was the creation of the band Baka Beyond and the release of their collaboration with the Baka musicians, "Spirit of the Forest" alongside the album "Heart of the Forest", a collection of traditional songs and music. Proceeds from both these albums have returned to the Baka musicians through the charity Global Music Exchange which continues to work with the Baka helping them in their rapidly changing environment.

Discography

  • Aka Pygmy Music. Recorded by Simha Arom. Philips 6586 016. Part of the UNESCO Collection (Musical Sources I-2); reissued as Auvidis D 8054.
  • Ba-Benzélé Pygmies. Bärenreiter BM 30 L 2303. Part of the UNESCO Collection (third in the Anthology of African Music); reissued as Rounder CD 5107.
  • Cameroon: Baka Pygmy Music (1977). EMI/Odeon 3C 064-18265. Part of the UNESCO Collection (Musical Atlas, #18); reisssued as Auvidis D 8029 (1990).
  • African Rhythms (2003). Music by Aka Pygmies, performed by Aka Pygmies, György Ligeti and Steve Reich, performed by Pierre-Laurent Aimard. Teldec Classics: 8573 86584-2. Liner notes by Aimard, Ligeti, Reich, and Simha Arom and Stefan Schomann.
  • Music of the Rainforest Pygmies. Historic recordings made by Colin M. Turnbull. Lyrichord: LYRCD 7157.
  • Echoes of the Forest: Music of the Central African Pygmies. Recordings by Colin M. Turnbull, Jean-Pierre Hallet and Louis Sarno. Ellipsis Arts: Musical Expeditions CD 4020
  • Heart of the Forest: Music of the Baka Forest People of South-East Cameroon. Recordings by Martin Cradick and Jeremy Avis. Hannibal Records: HNCD1378.
  • Baka in the Forest: traditional songs of the Baka women recorded live in the Cameroon rainforest.. Recordings by Su Hart. March Hare: MAHA CD29.

See also

Pygmy groups

Sources

  1. ^ Aimard, Pierre-Laurent; Ligeti, György; Reich, Steve; Arom, Simha; and Schomann, Stefan (2003). Liner notes, African Rhythms. Music by Aka Pygmies, performed by Aka Pygmies; Ligeti and Reich, performed by Aimard. Teldec Classics: 8573 86584-2.

Further reading

  • Abram, Dave. "Sounds From the African Rainforest". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 1: Africa, Europe and the Middle East, pp 601–607. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0
  • Lotte Hughes The No-Nonsense Guide to Indigenous Peoples (Verso, 2003) ISBN 1859844383, page 109

External links

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Pygmy_music&oldid=571423055"