Why do pygmies sing

Every performance of the vocal polyphonies of the Bedzan Pygmies demonstrates a subtle balance between the numerous variations performed by each individual singer and the necessity for the choir as a whole to preserve the identity of the piece.

The variability of both scale and motivic systems is characteristic of these polyphonies, whose study requires the use of specific methods. This chapter describes how the combination of multitrack recordings, graphic transcriptions, and experiments leads to determination of the nature of the musical system. Based on a limited number of rules, this musical system involves a set of constraints that provide balance and ensure its sustainability, while creating a network of possibilities related to expressiveness at the collective level scale system, motivic system, identity of the pieces , and at the individual level intonation of the degrees, choice of the motives, constant interaction.

Keywords: Bedzan Pygmies , vocal polyphonies , choir , recordings , expressiveness , scale system , motivic system , intonation , interaction. Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content. To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us. All Rights Reserved. OSO version 0. Unlike polyphonic systems that are written down in notation, the vocal tradition of the Aka Pygmies allows for spontaneous expression and improvisation. During performances, each singer can change his or her voice to produce a multitude of variations, creating the impression that the music is continuously evolving.

The songs are generally accompanied by various percussion and string instruments, each one played for a specific occasion. Among the most common instruments are a local type of drum enzeko , a harp-like instrument known as the geedale-bagongo, and the single-string bow mbela. The songs perpetuate essential knowledge for the cohesion of the group and the preservation of community values.

The dances are performed to the accompaniment of vibrant hand-clapping. Lawrence University. Search form Enter the terms you wish to search for. How is this music taught and learned? How much is improvised? How old or new is this repertoire? What are the connections of this music to geographical locations, past and present?

What meanings and associations does this music have for the people who make it? How are those different from any associations we might have about the sounds being made?