ial serves as a point for both musical identity and structural 'constellation' formal space objectives. A given musical ideal in this context will appear in one sonic-shape but be repositioned into any part of the micro-macro strata of the greater 'active' time-space. It is not simply that embellishment is the rule of thumb in Jola creative music it is more that everything in the 'active' creative space is 'negotiable'. The use of musical material in this manor demonstrates the use of fix and mutable operatives in both the stable or improvised event space. In the end African creativity is about dealing with the uniqueness of the moment, or the creative possibilities that can exist at a given moment, as opposed to the idea of presenting something that is fixed and complete. The phenomenon of embellishment can also be viewed as a hidden truth example; because the mutable space operatives of Jola initiation music disguise the use of primary and secondary melodic materials that can be approach as a) softer and/or louder b) slower or faster c) in any key ( including 'out of key') d) only part of a primary statement can be used e) or the possibility to add the 'emotion' of the moment ( and, in taking that option, change the poetic 'slant' of a given postulation). This is a state of 'living experiences' that transcends any one structural perspective. The dynamic phenomenon of 'ever present music' can barely be isolated into any one aesthetic construct (or context) for extended analysis because music is part of the belief system 'disposition' of the people of Africa. This is a discipline that is totally intertwined into the composite culture's 'vibrational fabric'- even to the point where there are special songs created for furnaces and-or iron tools. There is also the component use of music as an always present factor in the phenomenon of 'hidden truths' ( and 'veiled meanings'); that being, the quality of secrecy, as a term that describes sev...
