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Several factors have determined the shape of tone systems actually in use.
Tone systems and multipart patterns have a functional interrelationship in African music.
Where, in addition to the second, third, and fourth partials, the fifth partials of each fundamental are also used, hexatonic tone systems arise.
(The San and Pygmy peoples, whose polyphonic styles and tone systems are based on different principles, have often mistakenly been lumped together in evolutionist theories).
Thus, long periods of contact with speakers of genuine African tone languages of Niger-Congo and Nilo-Saharan stock may have assisted the historical shift from pitch accent to tone systems in Afro-Asiatic.
Tone systems based on the use of harmonics from two fundamentals are frequently encountered in areas where the musical bow, particularly the mouth bow (which uses the mouth as a resonator), is or was an important instrument.
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The tone system here is hexatonic.
The tone system of the !Kung people is tetratonic.
In other cultures movement is strictly parallel within the structure of the tone system concerned.
The Gogo tone system, illustrated below, is basically tetratonic (within one octave) with a pentatonic extension.
All the vocal music considered above has as its basis some kind of tone system.
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