Composition techniques in Kiganda xylophone music
With an introduction into some Kiganda musical concepts
Bibliographic Data
| ID | 8084368 |
|---|---|
| Authors | Gerhard Kubik (corresponding author) |
| Year | 1969 |
| Volume | 4 |
| Issue | 3 |
| Pages | 22-72 |
| Publication date | 1969-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | African Music: Journal of the African Music Society (JOURNAL) |
| Publisher | Rhodes University (PUBLISHER) |
| DOI | 10.21504/amj.v4i3.1437 |
| OpenAlex | W2498928472 |
| Language | EN |
| Citations received | 4 |
The impression that distinct and sophisticated composition rules are at work in Kiganda music is sustained by a number of observations. The field researcher in Uganda may be struck by the fact that an expert amadinda player can usually reconstruct the second part (okwawula) of a tune, if he is given the first part (okunaga), provided he knows the melody of the vocal theme inherent in the instrumental pattern. Though traditional musicians in Uganda cultivate an excellent memory, it may happen to anyone that parts of a musical piece slip the mind temporarily
Aesthetics · Art · Composition (language · Field (mathematics · Linguistics · Literature · Musical · Musical composition · Theme (computing · Visual arts · Computer Science · Diverse Musicological Studies · Mathematics · Music History and Culture · History · Philosophy
| Unique citing works | 4 |
|---|---|
| Citations per year | 0,1 |
| Citation span | 1987 - 2019 (33) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 4 |