Papers by Gregory Beyer
According to Ruth Tatlow’s article in The New Grove Dictionary of Music, the Golden Section is a ... more According to Ruth Tatlow’s article in The New Grove Dictionary of Music, the Golden Section is a relatively recent term for the original Golden Number. This term was coined in 432 B.C. by Meton the Athenian, who discovered the 19-year Lunar Cycle through the use of this calculation. It was originally written in gold, hence the name. In the Christian tradition, it has been in constant use for centuries as a means to calculate the Ecclesiastical Paschal full moon, and thence Easter Sunday. It has been historically regarded to yield harmonious proportions in works of nature and, through imitation of such perceived nature, in works of man. A lot “Mathematical systems of proportion originate from the Pythagorean concept that ‘all is number’ and the belief that certain numerical relationships manifest the harmonic structure of the universe.” (Ching)
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This article examines links between the Angolan musical bows - mainly hungu and mbulumbumba - and... more This article examines links between the Angolan musical bows - mainly hungu and mbulumbumba - and the Brazilian berimbau. The text explores historical evidence as well as ethnomusical methods to discuss this transatlantic relationship.
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Articles by Gregory Beyer
Ethnomusicology, 2021
Abstract. Combining historical, organological, ethnographic, and musical
analysis, this article e... more Abstract. Combining historical, organological, ethnographic, and musical
analysis, this article explores the relationship between three musical bows—the Angolan hungu and mbulumbumba and the Brazilian berimbau—in the
context of the South Atlantic African diaspora. Our intervention crisscrosses scholarly debates about the survival and adaptation of African musical bows in Brazil and capoeiristas’ discourses about the Angolan origins of capoeira and the berimbau. We argue for a direct connection between the hungu and berimbau, calling into question any such link to the mbulumbumba, one first posited by Gerhard Kubik in the 1970s and reasserted by subsequent scholars.
Resumo. Esse artigo explora a relação entre três arcos musicais (o hungu e o mbulumbumba de Angola e o berimbau do Brasil) numa análise que combina enfoques histórico, organólogico, etnográfico e musical no contexto da diaspora do Atlântico Sul. Nossa intervenção engaja debates acadêmicos a respeito da vsobrevivência e da adaptação dos arcos musicais no Brasil, e os discursos de capoeiristas sobre as origens angolanas da capoeira e do berimbau. Nós sustentamos
uma conexão direta entre o hungu e o berimbau, questionando um
vínculo direto com o mbulumbumba, como foi defendido por Gerhard Kubik
nos anos de 1970 e reafirmado por estudiosos subsequentes.
Bookmarks Related papers MentionsView impact
Journal Articles by Gregory Beyer
Ethnomusicology, 2021
Combining historical, organological, ethnographic, and musical analysis, this article explores th... more Combining historical, organological, ethnographic, and musical analysis, this article explores the relationship between three musical bows—the Angolan hungu and mbulumbumba and the Brazilian berimbau—in the context of the South Atlantic African diaspora. Our intervention crisscrosses scholarly debates about the survival and adaptation of African musical bows in Brazil and capoeiristas’ discourses about the Angolan origins of capoeira and the berimbau. We argue for a direct connection between the hungu and berimbau, calling into question any such link to the mbulumbumba, one first posited by Gerhard Kubik in the 1970s and reasserted by subsequent scholars.
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Papers by Gregory Beyer
Articles by Gregory Beyer
analysis, this article explores the relationship between three musical bows—the Angolan hungu and mbulumbumba and the Brazilian berimbau—in the
context of the South Atlantic African diaspora. Our intervention crisscrosses scholarly debates about the survival and adaptation of African musical bows in Brazil and capoeiristas’ discourses about the Angolan origins of capoeira and the berimbau. We argue for a direct connection between the hungu and berimbau, calling into question any such link to the mbulumbumba, one first posited by Gerhard Kubik in the 1970s and reasserted by subsequent scholars.
Resumo. Esse artigo explora a relação entre três arcos musicais (o hungu e o mbulumbumba de Angola e o berimbau do Brasil) numa análise que combina enfoques histórico, organólogico, etnográfico e musical no contexto da diaspora do Atlântico Sul. Nossa intervenção engaja debates acadêmicos a respeito da vsobrevivência e da adaptação dos arcos musicais no Brasil, e os discursos de capoeiristas sobre as origens angolanas da capoeira e do berimbau. Nós sustentamos
uma conexão direta entre o hungu e o berimbau, questionando um
vínculo direto com o mbulumbumba, como foi defendido por Gerhard Kubik
nos anos de 1970 e reafirmado por estudiosos subsequentes.
Journal Articles by Gregory Beyer
analysis, this article explores the relationship between three musical bows—the Angolan hungu and mbulumbumba and the Brazilian berimbau—in the
context of the South Atlantic African diaspora. Our intervention crisscrosses scholarly debates about the survival and adaptation of African musical bows in Brazil and capoeiristas’ discourses about the Angolan origins of capoeira and the berimbau. We argue for a direct connection between the hungu and berimbau, calling into question any such link to the mbulumbumba, one first posited by Gerhard Kubik in the 1970s and reasserted by subsequent scholars.
Resumo. Esse artigo explora a relação entre três arcos musicais (o hungu e o mbulumbumba de Angola e o berimbau do Brasil) numa análise que combina enfoques histórico, organólogico, etnográfico e musical no contexto da diaspora do Atlântico Sul. Nossa intervenção engaja debates acadêmicos a respeito da vsobrevivência e da adaptação dos arcos musicais no Brasil, e os discursos de capoeiristas sobre as origens angolanas da capoeira e do berimbau. Nós sustentamos
uma conexão direta entre o hungu e o berimbau, questionando um
vínculo direto com o mbulumbumba, como foi defendido por Gerhard Kubik
nos anos de 1970 e reafirmado por estudiosos subsequentes.