“Concepts of African musical theory." Journal of Black Studies 5/1 (1974): 35–64.Įkwueme, Laz. “Ibo Choral Music: Its Theory and Practice.” Ph.D.
"Nwányī n'ákw'ákwà: Ìgbò Tongue Twister." Africana Digital Ethnography Project, 28 (2017). diss., The Ohio State University, 2016Ĭarter-Enyi, Quintina, and Aaron Carter-Enyi. "Contour levels: an abstraction of pitch space based on African tone systems." Ph.D. Oxford University Press, 2016.Ĭarter-Enyi, Aaron. New York: Routledge, 2014.Īgawu, Kofi.The African imagination in music. Performances by Ogene Uzodinma, Laz Ekwueme Chorale, Agbani-Nguru Ikorodo, Lagos City Chorale, Elizabeth Ime Ònyéji, University of Lagos Choir, Morehouse College Glee Club.Īgawu, Kofi. Christian Onyeji, this SMT-V article studies the phenomenon of “tone-and-tune” in Ìgbò culture.Ĭompositions by Laz Èkwúèmé, Sam Òjúkwū, Christian Ònyéji, Joshua Úzọ̀ígwē.Ĭommentary by Laz Èkwúèmé, Christian Ònyéji. In addition to parallel harmony, Ekwueme recommends staggering text (as in European polyphony or African call-and-response) and using alliterative sounds (vocables and onomatopoeia) in subordinate voices.ĭrawing on field recordings gathered in Nigeria from 2011–2020 by the authors, and commentary by Ekwueme and Dr. In 1974, Laz Ekwueme, a doctoral advisee of Allen Forte, published an article on Ìgbò text setting and harmonization. Unfortunately, early missionaries would translate the texts metrically (to preserve the number of syllables) but had no understanding of the necessary tone.īecause of the link between lyrics and melody in tone languages, composers of vocal music in tone languages have argued that one should not compose vocal music in isolation from text or vice-versa. An example included in the video is “All hail the power of Jesus’ name” which is often sung to the Coronation hymn tune by Oliver Holden (1792). This is the case in sub-Saharan Africa, where “language and music are tied, as if by an umbilical cord” (Agawu 2016:113).Ī favorite tool for evangelism among 19th- and 20th-century European missionaries in West Africa was to translate European hymn texts into the language of the missionized and teach them to sing the translation to the original hymn tune. Being a tone language speaker also impacts ways of musicking, especially singing.
An example is (high-high, like a repeated note) and (high-low, like a falling interval) which forms a minimal pair between the Ìgbò words for strength and buttocks. Lexical tone is a pitch contrast akin to the contour of a melody that distinguishes between words. Increased sensitivity to pitch is a cognitive characteristic in the 60% of the world’s ethnolinguistic cultures that speak tone languages (Yip 2002). There are no other sense-altering aspects of culture that equate with language’s effect on aural perception (hearing).
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