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The 3:2 Relationship As the Foundation of Timelines in West African Musics

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The 3:2 Relationship As the Foundation of Timelines in West African Musics THE 3:2 RELATIONSHIP AS THE FOUNDATION OF TIMELINES IN WEST AFRICAN MUSICS BY EUGENE DOMENIC NOVOTNEY B.Mus., University of Cincinnati, 1982 M.Mus., University of Illinois, 1984 RESEARCH PROJECT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate College of the University of Illinois at Urbana-Champaign, 1998 Urbana, Illinois Eugene Novotney and Afadina Atsikpo, Accra, Ghana (2003) Eugene Novotney, Arcata, CA (2003) ©Copyright by Eugene Dominic Novotney, 1998 THE 3:2 RELATIONSHIP AS THE FOUNDATION OF TIMELINES IN WEST AFRICAN MUSICS Eugene Domenic Novotney, D.M.A. Candidate School of Music University of Illinois at Urbana-Champaign, 1998 Thomas Turino, Advisor Almost all research agrees upon the fundamental importance of rhythm in African musics, but the explanations of its foundation are as varied as the continent itself. Scholars and nonscholars alike have been seduced by the mystery of rhythm in African musics, and many theories have been advanced to detail its structure and organization. Rhythm seems to be simultaneously the most studied aspect of African music as well as the most confused. Much discussion has been devoted to the debate over the validity of generality and specificity in analyzing African musics. The very size and scope of Africa leads to its musics being complex and diverse phenomena. The views expressed in my analysis will not be meant to constitute a universal axiom for all African musics. Instead, they will be offered as insights into basic rhythmic principles upon which many West African musics have been built. iii My study will be based on the premise that the 3:2 relationship is the foundation of rhythmic structure in West African music. I will first establish a terminology for often misused terms-such as polyrhythm, cross-rhythm, syncopation, beat, and pulse,-and I will examine the use of these terms by scholars and performers. In fact, this analysis of terminology will be extensive and thorough, and will comprise a major portion of my study. Second, I will detail the foundation and the construction of timelines and rhythmic structures i n West African musics, based on aspects of the 3:2 relationship. I will propose a system for analyzing West African rhythmic structures and demonstrate how the elements of this system function together to create dense and complex textures based in cross-rhythmic relationships . Next, I will present a thorough examination of the phenomena of the 3:2 relationship as manifested in nature and as as a model of structure in mathematics, architecture, and music. I will relate the 3:2 foundation of West African musics to the structural significance of the 3:2 relationship in other models. I will examine the 3:2 harmonic foundation in the theory of common practice tonal music. And I will examine the 3:2 relationship as the foundation of musics of the African diaspora: namely, as it manifests itself through the concept of "clave." iv I will use the conventional Western notational system to represent all of my musical examples. In all cases, I will stress the importance of understanding this complex rhythmic system as an integration of its components, not merely as groupings of its elements. Above all, I will draw conclusions based on thorough analysis and practice, approaching my topic through the eyes of a performer. v To C.K. Ladzekpo, whose patience, guidance, wisdom, and spirit are a continuous inspiration. vi CONTENTS Chapter 1. INTRODUCTION ••• ••• •• 1 2. POLYRHYTHM AND CROSS-RHYTHM 5 3. HEMIOLA AND SESQUIALTERA 34 4 • BEAT AND PULSE ••••• 69 5 • DOWNBEAT, UPBEAT, AND OFFBEAT 74 6 . ADDITIVE RHYTHM, DIVISIVE RHYTHM, AND SYNCOPATION 92 7. THE FOUNDATION OF TIMELINES IN WEST AFRICAN MUSICS 113 8. SPECIALIST STUDIES: TIMELINES IN AFRICAN MUSICS 122 9. TOWARD A NEW TERMINOLOGY: THE KEY PATTERN 160 10 . THE 3:2 RELATIONSHIP AS A NATURAL PHENOMENON 175 11 . THE POLYRHYTHMIC STRUCTURE OF WEST AFRICAN MUSICS 201 vii 12. COMPOSITE RHYTHM 220 13. CLAVE 236 14. CONCLUSION 244 BIBLIOGRAPHY 246 APPENDIX A- COMPOSITE RHYTHM 250 APPENDIX B- GLOSSARY •••• 263 APPENDIX C- THE TRANSCRIPTION OF AFRICAN MUSICS 266 APPENDIX D - SPECIALIST STUDIES 277 VITA .. 298 viii CHAPTER I INTRODUCTION Almost all research agrees upon the fundamental importance of rhythm in African musics, but the explanations of its foundation are as varied as the continent itself. Scholars and nonscholars alike have been seduced by the mystery of rhythm in African musics, and many theories have been advanced to detail its structure and organization. Rhythm seems to be simultaneously the most studied aspect of African music as well as the most confused. Much discussion has been devoted to the debate over the validity of generality and specificity in analyzing African musics . The very s ize and scope of Africa leads t o its musics being complex and diverse phenomena. So the views expressed i n this document are not meant to constitute a universal axiom for all African musics. Instead, they are offered as insights into basic rhythmic principles. I Please note that my own performance experience has primarily been focused on the musics of the Anlo-Ewe people of Ghana and the Yoruba people of Nigeria. I have, however, observed the rhythmic structures and timelines characteristic to Ewe and Yoruba musics displayed in numerous other West African musical contexts. Specifically, I will argue that the timelines and rhythmic structures common to these West African musics are based on the foundation of the 3:2 relationship. It may be the case that these timelines and rhythmic principles function in other musics of Africa as well, but that particular claim beyond the scope of this document. I will first establish a terminology for often misused terms-such as polyrhythm, cross-rhythm, syncopation, beat, and pulse,-and I will examine the use of these terms by scholars and performers. In fact, this analysis of terminology will be extensive and thorough, and will comprise a major portion of this study. For ease of reference, a glossary of the terms discussed will be included as Appendix B. Second, I will detail the foundation and the construction of timelines and rhythmic structures in West African musics, based on aspects of the 3:2 relationship. I will propose a system for analyzing West African rhythmic structures and demonstrate how the elements of this system function together to create dense and complex textures based in cross-rhythmic relationships. 2 Next, I will present a thorough examination of the phenomena of the 3:2 relationship as manifested in nature and as a model of structure in mathematics, architecture, and music. I will relate the 3:2 foundation of West African musics to the structural significance of the 3:2 relationship in other models . I will examine the 3 :2 harmonic foundation in the theory of common practice tonal music. And I will examine the 3:2 relationship as the foundation of musics of the African diaspora: namely, as it manifests itself through the concept of uclave. u I will use the conventional Western notational system to represent all of my musical examples. In all cases, I will stress the importance of understanding this complex rhythmic system as an integration of its components, not merely as groupings of its elements. Above all, I will draw conclusions based on thorough analysis and practice, approaching my topic through the eyes of a performer. Indeed, my initial introduction to this topic came not as a scholar, but rather as a percussionist, and my interest has always been in prescriptive (how to play the best) rather than descriptive (general characteristics) methodology. Fascinated by West African rhythmic structures, I eventually committed myself to learn to perform them. At that time, I could not imagine what a 3 profound effect that decision would have on my life. Certainly, I would not be the musician or person I am today had I not chosen to make that commitment. I have never been to Africa. All of my ideas were formulated through studying the literature and working with African musicians in the United States. To this end, I must especially thank my teacher, Anlo-Ewe master drummer C.K. Ladzekpo, for his energy and patience in opening the door to this very special music for me. Most of my ideas are rooted in C.K.'s teaching. For his guidance and inspiration, I will be forever grateful. 4 CHAPTER 2 POLYRHYTHM AND CROSS-RHYTHM As I begin my analysis, I must define several terms which have been the basis of severe ambiguity and argument in the past. As my intent is to employ the most universally accepted definitions of the terms in question, I feel it is most proper, when at all possible, to reference the most standard bodies of research available in the field at large. To that end, I will begin my studies by referencing the Harvard Dictionary of Music, the Grove's Encyclopedia of Music and Musicians, and the Webster's Dictionary of the English Language. By doing so, a basis for common and universal usage should be revealed. When necessary, I will select substitutions for, or additions to, the above­ referenced texts. I will pursue other references when a specific term cannot be found in the primary sources or when the definitions provided by the primary sources require augmentation due to continued ambiguity. 5 Most often, African musics are referred to in scholarship as being polyrhythmic. Some authors choose instead to describe African musics as cross-rhythmic. Regularly, in reference to African rhythmic schemes, discussions of both polyrhythm and cross-rhythm lead to the use of the term hemiola. Almost universally, there is significant contradiction in the use of these terms from author to author.
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