The Metric Matrix: Simultaneous Multidimensionality in African Music

Although music typically is regarded as being temporally ephemeral, this model insufficiently theorizes African polyphonic music for dance in which performers set up dynamic steady states that present to the mind's musical ear multiple simultaneous views that are constantly in a condition of no...

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Main Author: Locke, David
Format: Article
Language:English
Published: Analytical Approaches to World Music 2011-07-01
Series:Analytical Approaches to World Music
Online Access:http://aawmjournal.com/articles/2011a/Locke_AAWM_Vol_1_1.pdf
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spelling doaj-195494651c064aba824d2081fbe407722020-11-25T04:05:20ZengAnalytical Approaches to World MusicAnalytical Approaches to World Music2158-52962011-07-01114872The Metric Matrix: Simultaneous Multidimensionality in African MusicLocke, David0Tufts UniversityAlthough music typically is regarded as being temporally ephemeral, this model insufficiently theorizes African polyphonic music for dance in which performers set up dynamic steady states that present to the mind's musical ear multiple simultaneous views that are constantly in a condition of non- resolving metamorphosis. This paper argues that when musicians compose and improvise, they intentionally design their musical choices to enable and maintain an open-ended quality. Musical syntax purposely serves the aesthetic goal of keeping the music in a constant state of becoming. Using the concepts of metric matrix and simultaneous multidimensionality, the paper will explore the nature of musical polysemy in Africa. The internal structure of an "ensemble thematic cycle" (Nzewi) is a metric matrix. Beats, which contain sets of time-points, are the factors most present to consciousness. Since many beat streams co- exist in the matrix, a sounded phrase is subject to cognitive re-orientation depending on the flow of beats on which perception is grounded. Three-inthe-time-of-two (3:2) pervades music with beats of ternary structure. Ternary beats imply their binary/quaternary counterparts; 3:2 is an inseparable twinning of two complementary feelings of musical time. Each moment within the metric matrix has an inherent rhythmic valence that varies along a continuum from stability to motility. Simultaneous multidimensionality names a condition in which music is coherent from perspectives at the same time. Devices of simultaneous multidimensionality include: (1) dualism of tempo, (2) polyphonic perception, (3) equivocal phrase shape, (4) musical recycling, (5) meter as a matrix, and (6) polysemous phrases. Repetition is a crucial enabling condition by which the recurring multipart texture achieves a sculptural persistence.http://aawmjournal.com/articles/2011a/Locke_AAWM_Vol_1_1.pdf
collection DOAJ
language English
format Article
sources DOAJ
author Locke, David
spellingShingle Locke, David
The Metric Matrix: Simultaneous Multidimensionality in African Music
Analytical Approaches to World Music
author_facet Locke, David
author_sort Locke, David
title The Metric Matrix: Simultaneous Multidimensionality in African Music
title_short The Metric Matrix: Simultaneous Multidimensionality in African Music
title_full The Metric Matrix: Simultaneous Multidimensionality in African Music
title_fullStr The Metric Matrix: Simultaneous Multidimensionality in African Music
title_full_unstemmed The Metric Matrix: Simultaneous Multidimensionality in African Music
title_sort metric matrix: simultaneous multidimensionality in african music
publisher Analytical Approaches to World Music
series Analytical Approaches to World Music
issn 2158-5296
publishDate 2011-07-01
description Although music typically is regarded as being temporally ephemeral, this model insufficiently theorizes African polyphonic music for dance in which performers set up dynamic steady states that present to the mind's musical ear multiple simultaneous views that are constantly in a condition of non- resolving metamorphosis. This paper argues that when musicians compose and improvise, they intentionally design their musical choices to enable and maintain an open-ended quality. Musical syntax purposely serves the aesthetic goal of keeping the music in a constant state of becoming. Using the concepts of metric matrix and simultaneous multidimensionality, the paper will explore the nature of musical polysemy in Africa. The internal structure of an "ensemble thematic cycle" (Nzewi) is a metric matrix. Beats, which contain sets of time-points, are the factors most present to consciousness. Since many beat streams co- exist in the matrix, a sounded phrase is subject to cognitive re-orientation depending on the flow of beats on which perception is grounded. Three-inthe-time-of-two (3:2) pervades music with beats of ternary structure. Ternary beats imply their binary/quaternary counterparts; 3:2 is an inseparable twinning of two complementary feelings of musical time. Each moment within the metric matrix has an inherent rhythmic valence that varies along a continuum from stability to motility. Simultaneous multidimensionality names a condition in which music is coherent from perspectives at the same time. Devices of simultaneous multidimensionality include: (1) dualism of tempo, (2) polyphonic perception, (3) equivocal phrase shape, (4) musical recycling, (5) meter as a matrix, and (6) polysemous phrases. Repetition is a crucial enabling condition by which the recurring multipart texture achieves a sculptural persistence.
url http://aawmjournal.com/articles/2011a/Locke_AAWM_Vol_1_1.pdf
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