The concept of the existence of a unique African philosophy, as

discussed by many scholars, is said to underline the Africans

thinking and perception of life, and in turn permeates all aspects of
his existence and being, be it family, work, war or creativityFor
Meki Nzewi bases his discussion of inter-rhythmic realization and the
structure and analysis of African music on this concept of African
philosophy and African musical philosophy, calling onto the concept
of co-existence and interdependence in traditional African societies,
as he talks about the relationship between simultaneous musical
motifs in an ongoing drum music.1
This idea has been contrasted by several scholars who, taking
the Universalist perspective on philosophy, argue that the notion of
an African philosophy is a ploy by Westerners to perpetuate a sense
of inferiority and difference in the mind of the African. This
orientation is made abundantly clear in Imbos Universal Definitions
of African Philosophy, where he brings to light that the objects and
methods of philosophy are universal[and consequently] what
makes African philosophy African is not that it is about some unique
African truths, concepts, or problems, but rather that it is the written
literature

of

Africans

engaged

with

universal

philosophical

problems.2 He further disagrees with Western ethnophilosophical

1 Meki Nzewi. Theoretical Content, African Music: Theoretical
Content and Creative Continuum, The Culture exponents Definition.
Oldershausen, Germany: Institut fr Didaktik Populrer Music, 1997,
pp. 36.
2 Samuel Oluoch Imbo. Universal Definitions of African Philosophy,
An Introduction to African Philosophy. New York: Rowan &Littlefield
Publishers, 1998, p. 21.

representation

of

separateness,

ethnophilosophers

currency

of

Africa

European

that

in

their

are

emphasis

basically

stereotypes[as

such]

on

trading
the

African
in

the

difference

ethnophilosophers emphasize is difference from Europe. 3

This ideation of a universal philosophy in contrast with an
African philosophy extends beyond the boundaries of social
organization and thought; it also permeates discourse in musical
systems, especially the area of music analysis. The term analysis as
used here refers to the breaking down of musical aspects and
determining how they work together and the different roles that
each aspect plays in the total sonic structure. The question that
arises from this loose definition is how does one determine the
functions and reasons for the composers (be it communal or
individual) choices of musical elements even after breaking the
whole structure down? Does this determination or analytical
methodology emanate from a universal perspective or from the
composer/musical society? And if the latter, should that be given
prominence over the universal approach?
It is incontrovertible that the ideologies of a particular period
and geography are largely imbibed into its musical systems, and as
such the compositions that are made in that time will typify the
culture and general ethos of the people and their beliefs. This goes
to reason that methodologies and concepts developed for musical
analysis will, to a large extent, be developed with particular music
3 Samuel Oluoch Imbo Op. Cit. p. 22.

systems in mind to which it should remain faithful. In extending this

idea, it is likely that this culture/period specific analytical method
could be used in analyzing music from outside cultures or later
periods, at least on a purely sonic level. The problem with this is
that it has the potential to subject other music, without a prior
written analytical method, to harsh concepts of understanding,
analysis and interpretation or misinterpretation. Further, the music
is forced to adjust to the standards of this foreign analytical aid,
sometimes loosing integral nuances peculiar to it. This is the issue
with

analyzing

African

music

with

Western

or

Universal

methodologies: you stand the risk of generalization mostly due to

inadequate knowledge of the African culture (including music
making) and an appropriation of European terminologies to preexisting concepts used on different parts of the continentthis idea
stands true for the misappropriation of the term rhythm and its
derivatives such as polyrhythm, ploymetricity and cross-rhythms by
European theorists to the perception of movement of music in time. 4
On the other hand, Universalists could easily infer (and they
do) that the conception of a thinking so specific to African music and
the Africans special point knowledge of musical elements should be
abandoned. Thus, in his Representing African Music Victor Kofi
Agawu exclaims that the truth is that, beyond local inflections
deriving from culture-bound linguistics, historical and materially
inflected expressive preferences, there is ultimately no difference
4 Meki Nzewi. Op. Cit. pp. 32-41.

between European knowledge and African Knowledgeall talk of a

distinct African mode of hearing, or of knowledge organization is a
lie.5 Agawus argument in this literature suggests that African
music scholars should leave behind the notion that African music
and its making is too special to be analyzed by other methodologies
it would seem that he seeks a sameness in analytical ideology
while Meki Nzewi seeks a more differential approach to the issue.
Again, Agawus may be acceptable because after all, music is music
and sound is sound, so why should there be variation in the hammer
that breaks its structures down?
Drawing from the above perspectives of reasoning, I am more
likely to sway to the ideals of Kofi Agawu that there is obviously no
way not to analyze African music6. My concern therefor is the
aftermath of breaking down the structure of the music, after
identifying the what component, how do you proceed to the why
component of analyses? I am of the view that even if Western
analysis makes for a better approach to the what aspect, it will
certainly lack in the approach to the why in African music. This is
the part where a contextual analyses comes to play; the part where
we try to identify the composers motives and ideologies in his
choice of musical objects and elements; the part that requires an
understanding of the philosophy of interdependence in nature and
the African composers ideals of belonging in a society, a society
5 Victor Kofi Agawu. How Not to Analyze African Music,
Representing African Music: Postcolonial Notes, Queries, Positions.
New York: Routledge, 2003, p. 180.
6 Victor Kofi Agawu. Op. Cit. p. 196.

that is reflected in his musicfor the what is in the sound while

the why is in the people and culture that make the music.

Discussions on Analyzing African music: Universal and Specific

Ideologies.

Samuel Boateng

Kent State University

Seminar In Ethnomusicology: Music of Africa
Dr. Kazadi wa Mukuna
October 23, 2014
Paper 5

Bibliography

Agawu, Victor Kofi. How Not to Analyze African Music,

Representing African Music: Postcolonial Notes, Queries,
Positions. New York: Routledge, 2003, pp. 173-198.
Imbo, Samuel Oluoch. Universal Definitions of African Philosophy,
An Introduction to African Philosophy. New York: Rowan
&Littlefield Publishers, 1998, pp. 17-26.
Meki Nzewi. Theoretical Content, African Music: Theoretical
Content and Creative Continuum, The Culture exponents
Definition. Oldershausen, Germany: Institut fr Didaktik
Populrer Music, 1997, pp. 31-58.