Peter Cooke Uganda Collection

Maro ma doye aryo = Mother in law tries to play a 2-way game

  • Add a note
    Log in to add a note at the bottom of this page.
  • All notes
  • My notes
  • Hide notes
Please click to leave a note

The British Library Board acknowledges the intellectual property rights of those named as contributors to this recording and the rights of those not identified.
Legal and ethical usage »

Tags (top 25):
(No tags found for this item)
  • Type

    sound

  • Duration

    00:05:14

  • Cultures

    Acholi (Labwor)

  • Shelf mark

    C23/14

  • Subjects

    Adungu song [woman's song of complaint]

  • Recording date

    1968-01-04 to 1968-01-06

  • Is part of (Collection)

    Peter Cooke Uganda Recordings

  • Recording locations

    Patongo, Acholi, Uganda

  • Performers

    Cwa, Mrs. Gerisoni (adungu)

  • Recordist

    Cooke, Peter

  • Description

    Item note: Adungu song [woman's song of complaint]. Performance note: This recording features Adungu - musical bow, single string strung accross the arch three times; tuned slowly with repeated efforts to adjust string by playing simple melody; untied three times and re-stretched. Performer's note: Wife of the leader of the Bwola dancers in the heartbeat of Afirca Troupe; from Patongo Kiteny. Recording note: Recorded at 3 3/4 ips. Recordist's note: In Peter Cooke's notes, this is PCUG64-8.19.B14.

  • Metadata record:

    View full metadata for this item

User notes for this item

African Harmony: _A note on polyphony and homophony played on monophonic instruments_ Horns, flutes and musical bows are monophonic african instruments. Typically the musically bow is viewed as a simple instrument. However, from this essentially simple instrument very complex harmonies and polyphony can result. African musicians often uses inherent patterns, hocket, homophonic parallelism (arrpegiated) and parallel dyads (broken) to harmonize melodies or create a harmonic texture on essentially monophonic instruments. *Harmonic concepts and principels applied in this song are: -Ostinato (to support the thematic variations of the vocals) -parallel 5ths (played broken) -inherent patterns. *The parallel 5ths were played back and forth, the inherent patterns were developed around the parallel 5ths. If you listen to the top voice (of the musical bow) you can hear an independant melody. if you listen to the bottom voice you can hear a counter melody, yet both alternate with one another. *when you consider the vocal meody, the top voice and bottom voice of the musical bow this is a 3 part polyphonic texture.

Posted by Daniel Jones, Researcher on 19/03/2019 02:28:00