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List of Figures 1 Map of the southern United States. 2 Details of the garaya lute's construction. 3 Structuring of a three-line (iz-bar) strophic blues form. 4 Patrix and matrix of the iz-pulse asymmetric time-line pattern. 5 The mathematics of West and Central African asymmetric timeline patterns. 6 The Yoruba 12-pulse pattern: how it is conceptualized. 7 Map of the linguistic regions of Africa and major slave-recruiting areas ca. 1800. 8 Field sketch of the grinding Tikar woman. 9 Map of African areas from which principal traits that were reconfigured in nineteenth- and twentieth-century rural blues originated. loa—e Some characteristic multipart progressions from Africa, na—e Different African scales from which the harmonic patterns of fig. loa—e are derived by the skipping process. 12 The natural harmonic series from partial 4 to n. 13 Tuning of the Kutin double-bells torj ito. 143—b "Female range" partials-based scalar pattern transposed to "male range." 15 Integration of the three-note scalar patterns in fig. i4a—b and expansion to include a note representing partial 9. i6a-b "Female range" and "male range" partials-based scalar patterns with background interference by other partials. 17 Integrated model: melodic repertoire of the blues. IX 18 Integrated west central Sudanic scalar model compressed into the range of one octave. 19 Mental template on which both west central Sudanic tonal ideas and blues tonality appear to be based. 20 Pentatonic scalar pattern in Ed Bell's "Mean Conductor Blues." 21 Graphic representation of Ed Bell's vocal scale in "Mean Conductor Blues." 22 How some southern African musicians of the 19905, unfamiliar with the 12-bar blues form, tend to reshuffle and reinterpret it. 23 Daniel Kachamba's reinterpreted blues form (10 bars). List of Figures X ...


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