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Variation Procedures in Northern Ewe Song

Bibliographic Data

ID7768608
AuthorsV Kofi Agawu (corresponding author)
Year1990
Volume34
Issue2
Pages221
Publication date1990-01-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueEthnomusicology (JOURNAL)
Journal identifiersISSN: 0014-1836 • E-ISSN: 2156-7417
PublisherUniversity of Illinois Press (PUBLISHER • US)
DOI10.2307/851684
OpenAlexW2318718168
LanguageEN
Citations received6
References cited6

The major organizational principle of Northern Ewe song is one shared by numerous African, Oriental, and European musical traditions: a small number of models (variously described as basic shapes, archetypes, background structures, basic designs, core patterns, deep structures) is transformed in a wide variety of ways during performance. Variation takes place on different hierarchic levels both within and between songs and includes practically all of a song's dimensions (rhythm, interval, register, contour, harmony, and so on). This principle, although widely demonstrated in the literature on African song (see, among others, Jones 1976; Kauffman 1984; Schmidt 1984; and Erlmann 1985), is not restricted to vocal music. Studies of Ghanaian Kasena flute ensemble music (Koetting 1984), of Banda-Linda horn ensemble music (Arom 1984), of Southern Ewe Gahu (Locke 1987), and of Birifor xylophone ensemble music (Godsey 1984): all these reserve a central place for variation procedures. The aim of this essay is to isolate a handful of melodic and harmonic models of the little-studied Northern Ewe song repertoire and to show how they are composed in performance.1

Astronomy · Geography · Physics · Variation (astronomy · African studies and sociopolitical issues · Diverse Musicological Studies · Music History and Culture

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Unique citing works6
Citations per year0,18
Citation span1992 - 2023 (32)
Citation velocityhistorical
Highly citedNo
Citation typesNeutral: 5

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