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William Oscar "Willie" Anku (25 July 1949 – 1 February 2010) was a Ghanaian music theorist, ethnomusicologist, composer, and performer. His work combined Western set theory with computer programming and experience in working with performers of various West African musical traditions to create a comprehensive theory of African rhythm. He was "unique among Africa-based music theorists in attracting the attention of the US-based Society for Music Theory," being invited to give plenary lectures and receiving tributes from prominent US-based theorists.〔Kofi Agawu, "In memoriam William Oscar Anku (1949-2010)," ''Journal of Musical Arts in Africa'' (2010)〕 ==Music theory== Anku rejected the relevance of simple concepts of polymeter in understanding West African music.〔Kofi Agawu, ''Representing African Music: Postcolonial Notes, Queries, Positions'', (Psychology Press, 2003), p. 85 (on polymeter) pp. 194-96 (a section titled "Anku").〕 He is noted for attempting to create a more natural, but non-indigenous system of music notation to the study of African music.〔Meki Nzewi, Israel Anyahuru, and Tom Ohiaraumunna, ''Musical Sense and Musical Meaning: An Indigenous African Perception'' (Amsterdam: Rozenberg Publishers, 2008), p. 213〕 Anku's circular notation shows the various "combinatoric aspects of () pattern relative to different metrical positions, based on how the rhythmic pattern is aligned with () regulative metric pattern."〔Justin London, ''Hearing in Time'' (Oxford: Oxford University Press, 2012), pp. 81-82〕 Bode Omojola lists Anku among five contemporary scholars most influencing ideas of African Rhythm.〔Bode Omojola, ''Yorůbá Music in the Twentieth Century: Identity, Agency, and Performance'' (University Rochester Press, 2012), p. 5〕 His work was cited as influential on the Godfried T. Toussaint's general geometric theory of musical timelines.〔Godfried T. Toussaint, ''The Geometry of Musical Rhythm,'' (CRC Press, 2013), p. xv〕 Agawu described his approach to West-African music theory as "structural set analysis," the title of two of his short books.〔Kofi Anyidoho, Helen Lauer, eds. Reclaiming the Human Sciences and Humanities Through African Perspectives, Volume 2 (Legon-Accara: Sub-Saharan Publishers, 2011), "Willie Anku" pp. 1470-72.〕 He defended the analytical approach to African music in a 2007 interview on Ghanaian MetroTV.〔(Carlos Sakyi meets Dr. Willie Anku on music and copyright )〕 In addition to its impact on understanding African music, Anku's theories have been cited in the study of György Ligeti.〔Amy Marie Bauer, ''Ligeti's Laments: Nostalgia, Exoticism and the Absolute,'' (Ashgate, 2011), p. 152〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Willie Anku」の詳細全文を読む スポンサード リンク
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