One of the widely acknowledged features of African music is its organic and proximal connection to social and cultural life. Activities such as marriage ceremonies, funeral rites, the installation of kings and religious festivals depend significantly on musical performance in articulating the social and religious norms that hold a society together. As exemplified in the Yoruba dùndún performance, music in African communities is often an intensely social experience in which musical contemplation – which I define as the act of processing and engaging with music in terms of, and beyond, its formal and aesthetic principles – is socially grounded. The art of musical enjoyment – or the process of musical contemplation – is not limited to the processing of musical aesthetics. Quite often musical contemplation is complete only when there is an extra-musical context (social or religious, for example) within which one engages with the appeal of musical creativity and the dynamics of performance. If the Yoruba tradition is indicative, traditional African musicians often situate and conceive the aesthetic or entertaining elements of their performance (the aesthetic or congeneric space) within the specific context of that performance (the embodied space), and do so in ways that are referential to the values of the larger society (the social space).1 What they generate in the process is an integrative system of musical signification. The connections between aesthetic, embodied and social spaces provide an important background for understanding how modern African performances tend to depart from traditional practices. In a contemporary work for piano and Yoruba dùndún drums, for example, changes are apparent in the context of performance (concert hall), the musical sound (piano as well as the syntactical and aesthetic constructs marking its use), and the social significance (elitism, modernism and/or individuated contemplation). More significantly, however, the process of connecting these spaces in ways that facilitate an integrated system of contemplation is often unarticulated by the composer or unbeknownst to the listener. The degree to which such connections are forged and the mode of forging them would certainly

中文翻译：

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思考非洲艺术音乐：对 Akin Euba 研讨会和音乐会的反思

非洲音乐广为人知的特征之一是它与社会和文化生活的有机和最近的联系。婚礼、葬礼、国王的安葬和宗教节日等活动在很大程度上取决于音乐表演，以表达将社会团结在一起的社会和宗教规范。正如 Yoruba dùndún 表演所体现的那样，非洲社区的音乐通常是一种强烈的社会体验，其中音乐沉思——我将其定义为根据音乐的形式和美学原则处理和参与音乐的行为，以及超越其形式和美学原则的行为——是社会性的接地。音乐享受的艺术——或音乐沉思的过程——不仅限于音乐美学的处理。很多时候，音乐沉思只有在有一种额外的音乐背景（例如社会或宗教）时才算完整，在这种背景下，人们可以参与到音乐创造力的吸引力和表演的动力中。如果约鲁巴传统是指示性的，那么传统的非洲音乐家通常会在表演的特定背景下（具体化空间）定位和构思他们表演的审美或娱乐元素（审美或同类空间），并以具有参考意义的方式进行到更大社会（社会空间）的价值观。1 它们在这个过程中产生的是一个综合的音乐意义系统。审美空间、具体空间和社会空间之间的联系为理解现代非洲表演如何倾向于背离传统实践提供了重要背景。例如，在钢琴和约鲁巴 dùndún 鼓的当代作品中，表演环境（音乐厅）、音乐声音（钢琴以及标志着其使用的句法和美学结构）和社会意义（精英主义、现代主义和/或个性化的沉思）。然而，更重要的是，以促进综合沉思系统的方式连接这些空间的过程通常不被作曲家或听众不知道。这种联系的伪造程度和伪造方式肯定会 以及社会意义（精英主义、现代主义和/或个性化的沉思）。然而，更重要的是，以促进综合沉思系统的方式连接这些空间的过程通常不被作曲家或听众不知道。这种联系的伪造程度和伪造方式肯定会 以及社会意义（精英主义、现代主义和/或个性化的沉思）。然而，更重要的是，以促进综合沉思系统的方式连接这些空间的过程通常不被作曲家或听众不知道。这种联系的伪造程度和伪造方式肯定会