But in the case of African music (apart from a few imperfectly studied records in my own possession) we have to rely entirely on the versions which travellers have taken down for us in the field. We have to assume, in the first place, the correctness of their 'musical ear,' and in the second place, the possibility of expressing in European notation those delicate shades of pitch and time in which the characteristics of primitive music so essentially consist. And both these are unwarrantable assumptions.
However, from our study of comparative music elsewhere, we may make one statement with certainty, namely, that an African music does not exist. There must be almost as many styles of native music in Africa as in Europe—varieties differing not only broadly in general form and structure, but also more minutely in the intervals and rhythms which are employed.
I have been informed by travellers in West Africa that surprising differences occur in the degree of development of musical art even in closely neighbouring regions. In one district hardly any music is to be heard at all; in another the music is most uncouth; in a third it is highly agreeable to the European ear; while some parts of West Africa have advanced to the stage of part-singing.
The most erroneous notions have been expressed as to the nature of African music. I have seen it stated that African songs consist in a gradual descent from a higher to a lower pitched note. That this is far from being usually the case is shown in the following specimens, which I have gathered from various narratives of African travel.
Boat Song. Congo District.
Boat Song. Congo District.