Several hints have been given in the last chapter concerning the vigorous, dynamic,
outgoing nature of Central African musical expression. In specific terms, how uniform
is this character and what does it mean? Do broad-leaped melodies, belligerent rhythms,
and volcanic performance mark all tribal music? Furthermore, what does musical
organization here signify in terms of pristine simplicity and sophisticated complexity,
and what bearing, if any, does organization level have upon the leaping musical
temperament?

Some readers may be sorely disappointed to find a mousy, timid little tune almost
concealing itself within the confines of a minor second and displaying no more rhythmic
curiosity than a straight-laced 6/8; or a slightly bolder major-third melody without any
particular rhythmic personality. Somewhere along the much-traveled forest paths lie
concealed the atomic elements of any musical corpus and the more variegated and
loosely bound this corpus the more apt are the elements to break free at the slightest
provocation. In the course of our investigation, it will be seen that, while Central
African music is indeed in a molecular rather than an atomic stage, basic particles often
separate themselves from the parent body to exist independently or, what is more
common, live rebelliously within the confines of the more developed parent network.
This is particularly true of melody, although rhythm, polyphony, and form warrant
occasional attention in varying proportions.

The types. ranging from the one- or two-step chant through the broader melody
spanning an octave or more, may be found in nearly all areas, sometimes existing as
extremes within the same tribe. Generally (although exceptions exist), the compressed,
nuclear melody belongs to the sacred or ceremonial category of tribal expression,
strictly guarded and reserved for only those occasions at which magico-religious factors
come into play. Thus, the Bapere of the northeast Belgian Congo intone on a miniature
phrase of three tones confined to a major third, when invoking the spirit of the fearful
circumcision bird (Ex. 1, Transcr. 8 ¹ ), but also have a more expanded vocal melody in

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