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BEGIN:VEVENT
UID:52044e97df3e27b425b4c651cfb2a4e0
CATEGORIES:Séminaire du CREM, CREM
CREATED:20170630T120448
SUMMARY:Transforming African Music Cycles in 12 Easy Steps, Michael Tenzer
LOCATION:Salle 308F du LESC (3e étage) - MSH Mondes (bât. Ginouvès) \n21\, allée de
l’Université\, Nanterre\, \, 92000\,
DESCRIPTION:Avec Michael Tenzer, ethnomusicologue, Professeur à l’University of British
Columbia. \n\n This paper, an exercise in speculative music theory, studie
s two African cyclical structures of very different origins and hypothesize
s deep structural connections between them. Rhythm and grouping, and the id
ea of directed compositional process—specifically, the process of transposi
tion—are considered. I depart from a hunch that the cycles, even with diff
erent numbers of pulsations or available pitch-classes, can be shown to be
based on compelling principles of equivalence.\n\n The analysis juxtaposes
the Zimbabwean mbira dzavadzimu tradition’s Nhema Musasa (kushaura part onl
y) and the recording of Hindehu from the Central African Republic (Arom 199
8). The presentation moves step-by-step from one piece to the other, using
transformations that leave the important structural features undisturbed. T
he process raises questions about musical ontology and the history of compo
sitional practice. As for the significance of the findings, they are criti
cally considered in light of related previous research by Kubik 1988, Engla
nd 1995, Brenner 1997, and Fernando 2009. \n\n Michael Tenzer is Professor
of Music at the University of British Columbia in Vancouver. He has been a
ctive as performer, composer, and scholar. His book Gamelan Gong Kebyar: Th
e Art of Twentieth Century Balinese Music (Chicago 2000) was the recipient
of an ASCAP-Deems Taylor Award and the Society for Ethnomusicology’s Merria
m Prize for book of the Year, and his two edited volumes on Analytical Stud
ies in World Music (Oxford 2006, and 2011 [co-edited with John Roeder]) hav
e helped revitalize the practice of analysis in ethnomusicology.\n\n Son si
te internet: http://www.michaeltenzer.com
X-ALT-DESC;FMTTYPE=text/html:Avec Michael Tenzer, ethnomusicologue, Professeur à l’University of
British Columbia.
This paper, an exercise in speculative music theory, studies two
African cyclical structures of very different origins and hypothesizes deep
structural connections between them. Rhythm and grouping, and the idea of
directed compositional process—specifically, the process of transposition—a
re considered. I depart from a hunch that the cycles, even with diffe
rent numbers of pulsations or available pitch-classes, can be shown to be b
ased on compelling principles of equivalence.
The analysis juxt
aposes the Zimbabwean mbira dzavadzimu tradition’s Nhema
Musasa (kushaura part only) and the recording of Hind
ehu from the Central African Republic (Arom 1998). The pres
entation moves step-by-step from one piece to the other, using transformati
ons that leave the important structural features undisturbed. The process r
aises questions about musical ontology and the history of compositional pra
ctice. As for the significance of the findings, they are critically c
onsidered in light of related previous research by Kubik 1988, England 1995
, Brenner 1997, and Fernando 2009.
Michael Tenze
r is Professor of Music at the University of British Columbia in V
ancouver. He has been active as performer, composer, and scholar. His book
Gamelan Gong Kebyar: The Art of Twentieth Century Balinese Music (
Chicago 2000) was the recipient of an ASCAP-Deems Taylor Award and the Soci
ety for Ethnomusicology’s Merriam Prize for book of the Year, and his two e
dited volumes on Analytical Studies in World Music (Oxford 2006, a
nd 2011 [co-edited with John Roeder]) have helped revitalize the practice o
f analysis in ethnomusicology.
Son site internet: http://www.michaeltenzer.com
DTSTAMP:20240329T010631
DTSTART;TZID=Europe/Paris:20150302T140000
DTEND;TZID=Europe/Paris:20150302T160000
SEQUENCE:0
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