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A bell pattern is a rhythmic pattern, often a ''key pattern''〔Novotney, Eugene N. (1998: 165) ''Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics'', UnlockingClave.com. Urbana, IL: University of Illinois.〕〔Peñalosa, David (2012: 255) ''The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins''. Redway, CA: Bembe Inc. ISBN 1-886502-80-3.〕 (also known as a ''guide pattern'',〔Gerstin, Julian (2013) "Rhythmic Structures in the African Continuum" ''Analytical Approaches to World Music''.〕 ''phrasing referent'',〔Agawu, Kofi (2003: 73) ''Representing African Music: Postcolonial Notes, Queries, Positions''. New York: Routledge.〕 ''timeline'',〔Nketia, Kwabena (1961: 78) ''African Music in Ghana''. Accra: Longmans.〕 or ''asymmetrical timeline''〔Kubik, Gerhard (1999: 54) ''Africa and the Blues''. Jackson, MI: University Press of Mississippi. ISBN 1-57806-145-8.〕), struck on an Idiophone, in most cases, a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves. In contemporary music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals. ==Sub-Saharan African music== Gerhard Kubik notes that key patterns originated within "those parts of Africa where Kwa languages and the 'westerm stream' of the Benue-Congo, or 'Bantu' languages are spoken" (the larger Niger–Congo-B group ).〔Kubik, Gerhard (2010: 57). Theory of African Music v. 2. Chicago Press.〕 Use of the patterns has since spread throughout the greater Niger–Congo language family. The use of iron bells (gongs) in sub-Saharan African music is linked to the early iron-making technology spread by the great Bantu migrations. The spread of the African bell patterns is probably similarly linked. Kubik observes that "at the broadest level," the various key patterns "are all interrelated."〔 Key patterns exist in their own right,〔A.M. Jones (1959: v. 1: 211). Cited by Kubik, Gerhard (2010: 60). ''Theory of African Music'' v. 2. Chicago Press.〕 as well as in relation to the three inner reference levels of elementary pulsation, main reference beat, and primary cycle.〔Kubik, Gerhard (2010: 60).〕 Kubik further states that key patterns represent the structural core of a musical piece, something like a condensed and extremely concentrated expression of the motional possibilities open to the participants (musicians and dancers).〔Gerhard Kubik cited by Agawu, Kofi (2006: 1-46). “Structural Analysis or Cultural Analysis? Comparing Perspectives on the ‘Standard Pattern’ of West African Rhythm” ''Journal of the American Musicological Society'' v. 59, n. 1.〕 Key patterns are generated through cross-rhythm.〔Novotney, Eugene D. (1998). ''Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics'', Web. ''UnlockingClave''.com. Urbana, IL: University of Illinois.〕 They typically consist of 12 or 16 pulses, and have a bipartite structure, which evenly divides the pattern into two rhythmically opposed cells of 6 or 8 pulses each.〔Kubik, Gerhard (2010: 62-63). ''Theory of African Music'' v. 2. Chicago: University of Chicago Press.〕 The key pattern defines the musical period; the first cell is antecedent, and the second is consequent.〔"The time span of the bell rhythm and its division into beats establish meter, a concept that implies a musical period" Locke, David "Improvisation in West African Musics" ''Music Educators Journal'', Vol. 66, No. 5, (Jan., 1980), p. 125-133. Published by: MENC: The National Association for Music Education.〕〔"We find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak" Grenet, Emilio, translated by R. Phillips (1939). ''Popular Cuban Music'' New York: Bourne Inc.〕 The asymmetrical array of attack-points contradicts the metrical symmetry of the two cells.〔Peñalosa (2009: 65-67).〕 ===The standard pattern=== The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in ethnomusicology as the ''standard pattern''.〔Jones, A.M. (1959: 210-213) ''Studies in African Music''. 1978 edition: ISBN 0-19-713512-9.〕〔King, Anthony (1960). “The Employment of the Standard Pattern in Yoruba Music” ''American Music Society Journal''.〕〔Novotney, Eugene D. (1998: 155). Thesis: (''The 3:2 Relationship as the Foundation of Timelines in West African Musics'' ), ''UnlockingClave.com''. Urbana, IL: University of Illinois.〕 The standard pattern is expressed in both a triple-pulse (12/8 or 6/8) and a duple-pulse (4/4 or 2/2) structure.〔Peñalosa (2009: 55)〕 Many North American percussionists refer to the triple-pulse form as the ''6/8 bell''.〔Alan Dworsky and Betsy Sansby (2001). ''Hip Grooves for Hand Drums'', p.77. ISBN 0-9638801-5-2.〕 The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a. 12/8: 1 & a 2 & a 3 & a 4 & a || X . X . X X . X . X . X || 4/4: 1 e & a 2 e & a 3 e & a 4 e & a || X . . X . . X X . . X . X . . X || The axatse (Ghanaian beaded gourd instrument) part which typically accompanies the 12-pulse standard pattern in Ewe music is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa." The "pa's" sound the standard pattern by striking the gourd against the knee. The "ti's" sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand. As is common with many African rhythms, the axatse part begins (first "pa") on the second stroke of the bell (1a), and the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm. (See: standard bell with accompanying axatse part. Atsiagbekor. ) 抄文引用元・出典: フリー百科事典『 The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in ethnomusicology as the ''standard pattern''.Jones, A.M. (1959: 210-213) ''Studies in African Music''. 1978 edition: ISBN 0-19-713512-9.King, Anthony (1960). “The Employment of the Standard Pattern in Yoruba Music” ''American Music Society Journal''.Novotney, Eugene D. (1998: 155). Thesis: (''The 3:2 Relationship as the Foundation of Timelines in West African Musics'' ), ''UnlockingClave.com''. Urbana, IL: University of Illinois. The standard pattern is expressed in both a triple-pulse (12/8 or 6/8) and a duple-pulse (4/4 or 2/2) structure.Peñalosa (2009: 55) Many North American percussionists refer to the triple-pulse form as the ''6/8 bell''.Alan Dworsky and Betsy Sansby (2001). ''Hip Grooves for Hand Drums'', p.77. ISBN 0-9638801-5-2. The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a.12/8: 1 & a 2 & a 3 & a 4 & a || X . X . X X . X . X . X ||4/4: 1 e & a 2 e & a 3 e & a 4 e & a || X . . X . . X X . . X . X . . X || The axatse (Ghanaian beaded gourd instrument) part which typically accompanies the 12-pulse standard pattern in Ewe music is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa." The "pa's" sound the standard pattern by striking the gourd against the knee. The "ti's" sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand. As is common with many African rhythms, the axatse part begins (first "pa") on the second stroke of the bell (1a), and the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm.(See: standard bell with accompanying axatse part. Atsiagbekor. )">ウィキペディア（Wikipedia）』 ■The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in ethnomusicology as the ''standard pattern''.Jones, A.M. (1959: 210-213) ''Studies in African Music''. 1978 edition: ISBN 0-19-713512-9.King, Anthony (1960). “The Employment of the Standard Pattern in Yoruba Music” ''American Music Society Journal''.Novotney, Eugene D. (1998: 155). Thesis: (''The 3:2 Relationship as the Foundation of Timelines in West African Musics'' ), ''UnlockingClave.com''. Urbana, IL: University of Illinois. The standard pattern is expressed in both a triple-pulse (12/8 or 6/8) and a duple-pulse (4/4 or 2/2) structure.Peñalosa (2009: 55) Many North American percussionists refer to the triple-pulse form as the ''6/8 bell''.Alan Dworsky and Betsy Sansby (2001). ''Hip Grooves for Hand Drums'', p.77. ISBN 0-9638801-5-2. The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a.12/8: 1 & a 2 & a 3 & a 4 & a || X . X . X X . X . X . X ||4/4: 1 e & a 2 e & a 3 e & a 4 e & a || X . . X . . X X . . X . X . . X || The axatse (Ghanaian beaded gourd instrument) part which typically accompanies the 12-pulse standard pattern in Ewe music is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa." The "pa's" sound the standard pattern by striking the gourd against the knee. The "ti's" sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand. As is common with many African rhythms, the axatse part begins (first "pa") on the second stroke of the bell (1a), and the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm.(See: standard bell with accompanying axatse part. Atsiagbekor. )">ウィキペディアで「A bell pattern is a rhythmic pattern, often a ''key pattern''Novotney, Eugene N. (1998: 165) ''Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics'', UnlockingClave.com. Urbana, IL: University of Illinois.Peñalosa, David (2012: 255) ''The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins''. Redway, CA: Bembe Inc. ISBN 1-886502-80-3. (also known as a ''guide pattern'',Gerstin, Julian (2013) "Rhythmic Structures in the African Continuum" ''Analytical Approaches to World Music''. ''phrasing referent'',Agawu, Kofi (2003: 73) ''Representing African Music: Postcolonial Notes, Queries, Positions''. New York: Routledge. ''timeline'',Nketia, Kwabena (1961: 78) ''African Music in Ghana''. Accra: Longmans. or ''asymmetrical timeline''Kubik, Gerhard (1999: 54) ''Africa and the Blues''. Jackson, MI: University Press of Mississippi. ISBN 1-57806-145-8.), struck on an Idiophone, in most cases, a metal bell, such as an agogô, gankoqui, or cowbell, or a hollowed piece of wood, or wooden claves. In contemporary music, bell patterns are also played on the metal shell of the timbales, and drum kit cymbals.==Sub-Saharan African music==Gerhard Kubik notes that key patterns originated within "those parts of Africa where Kwa languages and the 'westerm stream' of the Benue-Congo, or 'Bantu' languages are spoken" (the larger Niger–Congo-B group ).Kubik, Gerhard (2010: 57). Theory of African Music v. 2. Chicago Press. Use of the patterns has since spread throughout the greater Niger–Congo language family. The use of iron bells (gongs) in sub-Saharan African music is linked to the early iron-making technology spread by the great Bantu migrations. The spread of the African bell patterns is probably similarly linked.Kubik observes that "at the broadest level," the various key patterns "are all interrelated." Key patterns exist in their own right,A.M. Jones (1959: v. 1: 211). Cited by Kubik, Gerhard (2010: 60). ''Theory of African Music'' v. 2. Chicago Press. as well as in relation to the three inner reference levels of elementary pulsation, main reference beat, and primary cycle.Kubik, Gerhard (2010: 60). Kubik further states that key patterns represent the structural core of a musical piece, something like a condensed and extremely concentrated expression of the motional possibilities open to the participants (musicians and dancers).Gerhard Kubik cited by Agawu, Kofi (2006: 1-46). “Structural Analysis or Cultural Analysis? Comparing Perspectives on the ‘Standard Pattern’ of West African Rhythm” ''Journal of the American Musicological Society'' v. 59, n. 1.Key patterns are generated through cross-rhythm.Novotney, Eugene D. (1998). ''Thesis: The 3:2 Relationship as the Foundation of Timelines in West African Musics'', Web. ''UnlockingClave''.com. Urbana, IL: University of Illinois. They typically consist of 12 or 16 pulses, and have a bipartite structure, which evenly divides the pattern into two rhythmically opposed cells of 6 or 8 pulses each.Kubik, Gerhard (2010: 62-63). ''Theory of African Music'' v. 2. Chicago: University of Chicago Press. The key pattern defines the musical period; the first cell is antecedent, and the second is consequent."The time span of the bell rhythm and its division into beats establish meter, a concept that implies a musical period" Locke, David "Improvisation in West African Musics" ''Music Educators Journal'', Vol. 66, No. 5, (Jan., 1980), p. 125-133. Published by: MENC: The National Association for Music Education."We find that all its melodic design is constructed on a rhythmic pattern of two measures, as though both were only one, the first is antecedent, strong, and the second is consequent, weak" Grenet, Emilio, translated by R. Phillips (1939). ''Popular Cuban Music'' New York: Bourne Inc. The asymmetrical array of attack-points contradicts the metrical symmetry of the two cells.Peñalosa (2009: 65-67).===The standard pattern===Standard bell pattern redirects directly here.-->The most commonly used key pattern in sub-Saharan Africa is the seven-stroke figure known in ethnomusicology as the ''standard pattern''.Jones, A.M. (1959: 210-213) ''Studies in African Music''. 1978 edition: ISBN 0-19-713512-9.King, Anthony (1960). “The Employment of the Standard Pattern in Yoruba Music” ''American Music Society Journal''.Novotney, Eugene D. (1998: 155). Thesis: (''The 3:2 Relationship as the Foundation of Timelines in West African Musics'' ), ''UnlockingClave.com''. Urbana, IL: University of Illinois. The standard pattern is expressed in both a triple-pulse (12/8 or 6/8) and a duple-pulse (4/4 or 2/2) structure.Peñalosa (2009: 55) Many North American percussionists refer to the triple-pulse form as the ''6/8 bell''.Alan Dworsky and Betsy Sansby (2001). ''Hip Grooves for Hand Drums'', p.77. ISBN 0-9638801-5-2. The standard pattern has strokes on: 1, 1a, 2& 2a, 3&, 4, 4a.12/8: 1 & a 2 & a 3 & a 4 & a || X . X . X X . X . X . X ||4/4: 1 e & a 2 e & a 3 e & a 4 e & a || X . . X . . X X . . X . X . . X || The axatse (Ghanaian beaded gourd instrument) part which typically accompanies the 12-pulse standard pattern in Ewe music is verbalized as: "pa ti pa pa ti pa ti pa ti pa pa." The "pa's" sound the standard pattern by striking the gourd against the knee. The "ti's" sound pulses in between the bell strokes, by raising the gourd in an upward motion and striking it with the free hand. As is common with many African rhythms, the axatse part begins (first "pa") on the second stroke of the bell (1a), and the last "pa" coincides with 1. By ending at the beginning of the cycle, the axatse part contributes to the cyclic nature of the overall rhythm.(See: standard bell with accompanying axatse part. Atsiagbekor. )」の詳細全文を読む スポンサード リンク
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