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In the essay, “The Heterogeneous Sound Ideal in African-American Music,” Olly Wilson discusses how prevalent aspects in African American music are attributable to an African musical tradition emphasizing the ideal of heterogeneousness. Many of these attributes can be found in Duke Ellington’s jazz piece, “Dicty Glide,” including the heterogeneous rhythmic clash, density of sound, single line timbral variation, and ensemble constitution. Wilson also discusses peripheral aspects of African American music that do not directly influence the heterogeneous ideal. ... The first quality listed is as follows: “The tendency to create musical events in which rhythmic clash or disagreement of accents is ideal” (Wilson 200). This “rhythmic clash” is evident in the rhythmic distinction between foregrounded and backgrounded parts of “Dicty Glide. ... It is unclear what relativity Wilson is implying when he speaks of “a relatively short musical time frame,” however, the mentioned “density of musical events” can be found in “Dicty Glide.” For instance, the close of “Dicty Glide” provides an appropriate example of density, where an emergence of polyphonic lines creates an impression of sound mass, or a density of sound. However, the density of sound is best explained by, and incontrovertibly related to, the timbral variation and ensemble constitution of the final two heterogenous aspects that will be discussed next.
The final two heterogenous aspects regard diversity of timbres.
Approximate Word count = 1072
Approximate Pages = 4.3
(250 words per page double spaced)
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