Skip to main content Accessibility help
×
Hostname: page-component-7479d7b7d-8zxtt Total loading time: 0 Render date: 2024-07-11T17:30:57.431Z Has data issue: false hasContentIssue false

5 - Polyphony produced by melodic instruments

Published online by Cambridge University Press:  27 January 2010

Simha Arom
Affiliation:
Centre National de la Recherche Scientifique (CNRS), Paris
Get access

Summary

DEFINITION AND GENERAL CHARACTERISTICS

Definition

By polyphonic instruments, we mean instruments designed for melodic music, i.e., provided with pitch levels from a predetermined scale, and played in such a way that the musician's hands simultaneously perform two parts which differ in both melody and rhythm.

General characteristics

The three polyphonic instruments found in the Central African Republic are the xylophone, the sanza, and the harp. They are only rarely used independently, their primary function being to provide support for a song which is invariably sung by the musician himself, but may also involve a response from a choir, or simply from a partner. This instrumental support does several things. It defines the periodic and modal framework for the song, and in so doing, furnishes a set of metric, rhythmic, and melodic reference points. The regularity of the invariant periodicity and the stability of the reference points help the musician to develop a nearly automatic motor behaviour, which frees his mind from attention to manual activity. When he has reached this stage, he can devote his attention entirely to melodic and verbal improvisation in his song. Far from confining itself to an organisational function, the instrumental formula provides a sort of ‘launching pad’ for the musician's inspiration by suggesting melodic associations.

Functionally speaking, the xylophone may be set apart from the harp and the sanza, as it is used primarily to accompany group dances. Accordingly, it is habitually a part of larger ensembles, including percussion instruments (particularly drums). The harp and the sanza, however, are used on more intimate occasions, althouth this is not incompatible with the adjunction of one or more percussion instruments, such as double bells or rhythm sticks.

Type
Chapter
Information
African Polyphony and Polyrhythm
Musical Structure and Methodology
, pp. 505 - 619
Publisher: Cambridge University Press
Print publication year: 1991

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×