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Preface
Figure 0.1 - Wile E. Coyote
Introduction
Introduction
Figure 0.2 - Where Do We Come From, Who Are We, Where Are We Going? (Paul Gauguin)
Chapter Two
Chapter Two
Figure 2.1 African mtDNA (Tishkoff 2007)
Figure 2.2 Nuclear DNA (Tishkoff 2009)
Figure 2.3 Y Chromosome DNA (Y Chromosome Consortium 2002)
Figure 5.1 Autosomal DNA in Africa (Tishkoff et al. 2009)
Figure 5.2 Hadza Hut
Figure 5.3 Hadza WomanChapter Seven
Figure 7.1 Man with scarification marks -- Africa
Figure 7. 2 Maori Facial Tatoo
Figure 7.3 Tasmanian Woman
Figure 7.4 Great Andamanese.
Chapter Eight
Figure 8.1 Australian Huts
Figure 8.2 Dorze hut
Figure 8.3 Dorze hut
Figure 8.4 Zulu huts
Figure 8.5 Swazi huts
Figure 8.6 Traditional Zulu Hut
Figure 8.7 Stone “Beehive” Hut -- Bronze Age Ireland
Figure 8.8 “Celtic” Hut (reconstruction) – Wales
Figure 8.9 Traditional Huts – Dani
Figure 8.10 “Beehive” Mud Huts -- Harran, Turkey
Figure 8.11 Syrian Mud Huts
Figure 8.12 Eskimo with dog and igloo
Figure 8.13 Eskimos with different kind of Igloo
Figure 8.14 The Wigglesworth Observatory, under construction
Figure 8.15 Australia -- “Aboriginal hut without its turf covering.”
Figure 8.16 Hadza Hut
Figure 8.17 Bushmen huts
Figure 8.18 Australian huts
Figure 8.19 Tierra del Fuego
Figure 8.20 Framework for Poverty Point hut.
Chapter Nine
Figure 9.2 Early Migration Paths (Oppenheimer 2004a, The Journey of Mankind)
Figure 9.3 Haplogroup M in India (Krithika and Vasulu 2009)
Chapter Ten
Figure 10.2 Distribution of M Haplogroups in India (Metspalu et al. 2004)
Figure 10.3 "The segregation of West Eurasian, East Eurasian and South Asian mtDNA pools" (Metspalu et al. 2004)
Figure 10.4 Cosmic microwave background (COBE)
Figure 10.5 Detail of Fig. 10.1
Figure 10.6 Detail of Fig. 10.3
Chapter Eleven
Figure 11.1 Eurasia -- later migrations (Metspalu et al. 2004)
Chapter Twelve
Figure 12.1 Birdbone Pipes from Kostenki (Hitchcock 2009)
Figure 12.2 Mammoth-Bone Hut (reconstruction)
Figure 12.3 Lithuanian Trumpets (Sadie 1984, iii:189)
Figure 12.4 Flute and Horn Ensemble, Chad (Blench 2002)
Figure 12.5 Panpipe Duet -- Plekhovo (Velitchkina 1996)
Figure 12.6 Examples of Medieval Hocket (Sanders 1974)
Figure 12.7 Comparison of Medieval and African Bushmen hocket (Sanders 1974; England 1995)
Figure 12.8 Medieval Motet, Amor Potest (Nakamura 2004)
Chapter Thirteen
Figure 13.1 Indo-European Migrations (Wikipedia)
Figure 13.2 Paleolithic Rock Art -- from Spain (Gimbutas 1991)
Figure 13.3 Images from rock paintings attributed to Bushmen artists -- southern Africa
Figure 13.4 "Polyphony and Complementarity" (Lomax et al. 1968:167)
Chapter Fourteen
Figure 14.1 Sunda and Sahul
Figure 14.3 Joseph Birdsell with adult Australian Pygmy
Chapter Fifteen
Figure 16.1 Phylogenetic Map of Musical Evolution. For details on how it was constructed and how to interpret it, see Appendix B.
Figure 16.2 Siamang Air Sac
Chapter Eighteen
Figure 18.1 (from Xinhuanet, April 5, 2004)
Appendix A
Figure A1: Outline of the Aka Pygmy song, “Makala,” from Kisliuk 1998. Vertical lines and brackets have been added to clarify certain tonal and motivic relationships.
Figure A2: Outline of the Ju/’hoansi Bushmen “Eland Song-little,” from England 1995. Brackets added to clarify certain motivic relationships.
Figure A3: Ju/’hoansi “Eland Song Great,” from England 1967. Vertical lines added to indicate pitch class identities.
Figure A5 -- Ju/'hoansi Bushmen Song, "The Lion," recorded by Emanuelle Olivier, transcribed by Victor Grauer
Figure A8 – Modal Profiles for African Pygmies, Bushmen and Farmer-Herders Compared (based on Tables A1-A3)
Appendix B
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Figure B1 -- Phylogenetic Map of Musical Evolution -- Grauer
Figure B2 -- Historical Map of Musical Style -- Grauer
Appendix B
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Figure B1 -- Phylogenetic Map of Musical Evolution -- Grauer
