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Theory of African Music, Volume II: Volume 2 by Gerhard Kubik: Used
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Item specifics
- Condition
- Book Title
- Theory of African Music, Volume II: Volume 2
- Publication Date
- 2010-11-15
- Pages
- 368
- ISBN
- 9780226456935
- Subject Area
- Music, History, Social Science
- Publication Name
- Theory of African Music, Volume II
- Item Length
- 0.9 in
- Publisher
- University of Chicago Press
- Subject
- Ethnomusicology, Africa / General, Anthropology / Cultural & Social, Instruction & Study / Theory, Ethnic
- Publication Year
- 2010
- Series
- Chicago Studies in Ethnomusicology Ser.
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.1 in
- Item Width
- 0.6 in
- Item Weight
- 19.4 Oz
- Number of Pages
- 368 Pages
About this product
Product Information
Erudite and exhaustive, Gerhard Kubik's Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures. In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malaw^ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture. Featuring a large number of photographs and accompanied by a compact disc of Kubik's own recordings, Theory of African Music, Volume II , will be an invaluable reference for years to come.
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226456935
ISBN-13
9780226456935
eBay Product ID (ePID)
102767999
Product Key Features
Publication Name
Theory of African Music, Volume II
Format
Hardcover
Language
English
Subject
Ethnomusicology, Africa / General, Anthropology / Cultural & Social, Instruction & Study / Theory, Ethnic
Publication Year
2010
Series
Chicago Studies in Ethnomusicology Ser.
Type
Textbook
Subject Area
Music, History, Social Science
Number of Pages
368 Pages
Dimensions
Item Length
0.9 in
Item Height
0.1 in
Item Width
0.6 in
Item Weight
19.4 Oz
Additional Product Features
LCCN
2009-042892
Series Volume Number
2
Number of Volumes
2 Vols.
Lc Classification Number
Ml350.K83 2010
Volume Number
Vol. 2
Reviews
Theory of African Music is monumental and falls into the 'must read' category for (ethno)musicologists, most particularly Africanists. Beyond the enormous quantity of information, data, and analytical approaches, the overwhelming strength of these volumes is Kubik's lateral savvy. His breadth of knowledge and depth of understanding is unequalled in African music scholarship. Kubik also leaves a legacy of fascinating yet unexplained 'musical riddles' to stimulate our curiosity (Vol. I, 15-19). How is it that the multipart singing of the Baule in The Ivory Coast employs the same tonal system of triads within an equiheptatonic scale as the Ngangela, Chokwe, and Luvale in Angola? How can one explain the almost identical xylophones and performance practices among the Makonde and Makua in northern Mozambique and the Baule and Kru in The Ivory Coast and Liberia? And why do almost all sub-Saharan Africans dance in counterclockwise processions? Kubik may have left these riddles to others, though we look forward to his future publications with anticipation., "Gerhard Kubik's scholarship is deep and vast, and this collection of his writing has no parallel. He stands alone among Africanists for many reasons, which are amply demonstrated in these volumes: the length of time in which he has been actively researching and writing about music, the vast geographic breadth of his work within Africa, his experience in both Anglophone and Francophone Africa, and his seamless understanding of and sympathy for both older genres and more recent guitar music."-Eric Charry, Wesleyan University, Gerhard Kubik's scholarship is deep and vast, and this collection of his writing has no parallel. He stands alone among Africanists for many reasons, which are amply demonstrated in these volumes: the length of time in which he has been actively researching and writing about music, the vast geographic breadth of his work within Africa, his experience in both Anglophone and Francophone Africa, and his seamless understanding of and sympathy for both older genres and more recent guitar music., Theory of African Music is monumental and falls into the 'must read' category for (ethno)musicologists, most particularly Africanists. Beyond the enormous quantity of information, data, and analytical approaches, the overwhelming strength of these volumes is Kubik's lateral savvy. His breadth of knowledge and depth of understanding is unequalled in African music scholarship. Kubik also leaves a legacy of fascinating yet unexplained 'musical riddles' to stimulate our curiosity (Vol. I, 1519). How is it that the multipart singing of the Baule in The Ivory Coast employs the same tonal system of triads within an equiheptatonic scale as the Ngangela, Chokwe, and Luvale in Angola? How can one explain the almost identical xylophones and performance practices among the Makonde and Makua in northern Mozambique and the Baule and Kru in The Ivory Coast and Liberia? And why do almost all sub-Saharan Africans dance in counterclockwise processions? Kubik may have left these riddles to others, though we look forward to his future publications with anticipation., Theory of African Music is monumental and falls into the 'must read' category for (ethno)musicologists, most particularly Africanists. Beyond the enormous quantity of information, data, and analytical approaches, the overwhelming strength of these volumes is Kubik's lateral savvy. His breadth of knowledge and depth of understanding is unequalled in African music scholarship. Kubik also leaves a legacy of fascinating yet unexplained 'musical riddles' to stimulate our curiosity (Vol. I, 15-19). How is it that the multipart singing of the Baule in The Ivory Coast employs the same tonal system of triads within an equiheptatonic scale as the Ngangela, Chokwe, and Luvale in Angola? How can one explain the almost identical xylophones and performance practices among the Makonde and Makua in northern Mozambique and the Baule and Kru in The Ivory Coast and Liberia? And why do almost all sub-Saharan Africans dance in counterclockwise processions? Kubik may have left these riddles to others, though we look forward to his future publications with anticipation., "Gerhard Kubik's scholarship is deep and vast, and this collection of his writing has no parallel. He stands alone among Africanists for many reasons, which are amply demonstrated in these volumes: the length of time in which he has been actively researching and writing about music, the vast geographic breadth of his work within Africa, his experience in both Anglophone and Francophone Africa, and his seamless understanding of and sympathy for both older genres and more recent guitar music."Eric Charry, Wesleyan University
Table of Content
Author's Preface to Volumes I and II VI. The Cognitive Study of African Musical "Rhythm" VII. African Music and Auditory Perception VIII. Àl ?´ --Yoruba Chantefables: An Integrated Approach towards West African Music and Oral Literature IX. Genealogy of a Malawian Musician Family: Daniel J. Kachamba (1947-1987) and His Associates X. African Space/Time Concepts and the Tusona Ideographs in Luchazi Culture Further Recommended Readings List of Musical Examples on CD II Indexes for Volumes I and II Index of Artists and Authors Index of African Ethnic-Linguistic Designations Index of Song Titles General Index
Copyright Date
2010
Target Audience
Scholarly & Professional
Dewey Decimal
780.96
Dewey Edition
22
Illustrated
Yes
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Was sent the wrong item. I ordered a CD and I received an LP instead. Two different places on the description said that it was a used CD in good condition. When I emailed the seller about it I got a generic reply telling me that they would get to it when they can and that if I send a second message it will just delay the process. That is terrible customer service. If they have time to send me an email message at all then they have time to initiate a refund or to answer the question I asked.
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The book arrived in a plastic envelope with not protection and unfortunately it looked like the book was damaged in transit because of it. The items original ETA was April 18th but arrived on April 22nd. I requested a refund after seeing the quality of the book and the seller responded with a full refund and an apology for the quality. I really appreciated the customer service but was sad to see the book not in the quality described.
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My sincere apologies, the item was not what I expected, (to NO FAULT of the SELLER at all.) It came in good condition however, I must’ve of misunderstood the description, I thought the names would be transliterated into English, but it's in Hebrew. I thought it would give the Hebrew meaning to the name/ places. Also I noticed that the dust jacket was different than the advertised photo. If I may, I'd like to request a refund please and continue my search... Kind regards.
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