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For Gerhard Kubik
This volume in honour of Gerhard Kubik comprises a broad range of contributions from among his worldwide circle of friends and admirers. Its contents have been loosely assorted into four sections, reflecting different facets of Kubik's widely varied interests: African Music Studies, Extensions of African Cultures in the Americas, Towards Intercultural Understanding, and Miscellaneous. Gerhard Kubik, born in 1934 in Vienna, has done - and is still doing - extensive field work in sub-Saharan Africa and parts of South America for 35 years. The impressive results of his research have highly influenced the panorama of African musicology and cultural anthropology.
Theory of African Music, Volume I
Taken together, these comprehensive volumes offer an authoritative account of the music of Africa. One of the most prominent experts on the subject, Gerhard Kubik draws on his extensive travels and three decades of study in many parts of the continent to compare and contrast a wealth of musical traditions from a range of cultures. In the first volume, Kubik describes and examines xylophone playing in southern Uganda and harp music from the Central African Republic; compares multi-part singing from across the continent; and explores movement and sound in eastern Angola. And in the second volume, he turns to the cognitive study of African rhythm, Yoruba chantefables, the musical Kachamba family of Malaŵi, and African conceptions of space and time. Each volume features an extensive number of photographs and is accompanied by a compact disc of Kubik’s own recordings. Erudite and exhaustive, Theory of African Music will be an invaluable reference for years to come.
Africa and the Blues
A narrative that explores the African genealogy of American Blues
Theory of African Music, Volume I
Vol. 1 previously published in 1994 by F. Noetzel.
Theory of African Music, Volume II
Vol. 1 previously published in 1994 by F. Noetzel.
Extensions of African Cultures in Brazil
Brazil owes a significant portion of its social and cultural heritage of several West and Central African cultures. Due to his intensive knowledge of the African culture renown ethnomusicologist Gerhard Kubik has studied the presence of African culture phenomena in several research trips in Brazil. His insights and interpretations in areas such as language, music, religion, and social organization lead to entirely new perspectives in terms of the share of Africa in the molding process of new cultures on the other side of the Atlantic. Gerhard Kubik's very lively written book is not only a milestone in the study of Afro-Latin and African diaspora cultures, but as it will prove to be a reference for future African and African diaspora culture-related issues.
Africa and the Blues
In 1969 Gerhard Kubik chanced to encounter a Mozambican labor migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues. Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa, Brazil, Venezuela, and the United States, he spent forty years in the field gathering the material for Africa and th...
Theory of African Music, Volume II
Erudite and exhaustive, Gerhard Kubik’s Theory of African Music provides an authoritative account of its subject. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures. In this second volume, Kubik explores a variety of topics, including Yoruba chantefables, the musical Kachamba family of Malawˆ i, and the cognitive study of African rhythm. Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. His analysis of tusona ideographs in Luchazi culture leads to an exploration of African space/time concepts that synthesizes his theories of art, rhythm, and culture. Featuring a large number of photographs and accompanied by a compact disc of Kubik’s own recordings, Theory of African Music, Volume II, will be an invaluable reference for years to come.
Jazz Transatlantic, Volume I
A CHOICE 2018 Outstanding Academic Title In Jazz Transatlantic, Volume I, renowned scholar Gerhard Kubik takes the reader across the Atlantic from Africa to the Americas and then back in pursuit of the music we call jazz. This first volume explores the term itself and how jazz has been defined and redefined. It also celebrates the phenomena of jazz performance and uncovers hidden gems of jazz history. The volume offers insights gathered during Kubik's extensive field work and based on in-depth interviews with jazz musicians around the Atlantic world. Languages, world views, beliefs, experiences, attitudes, and commodities all play a role. Kubik reveals what is most important--the expertise o...
Tusona - Luchazi Ideographs
Various graphic systems designed to express and transmit ideas or to convey messages were known in sub-Saharan Africa in pre-colonial times, ideographic and pictographic systems. One of the most intriguing of these traditions, known across eastern Angola into northwestern Zambia, among speakers of Luchazi, Chokwe, Lwena and related languages is the tusona ideographs. This work is a fascinating excursion into symbolism, the remote history of eastern Angola, Luchazi oral literature, mathematics, graphic art and communication.
