<P> Minangkabau musicians (of West Sumatra) use the following taxonomy for bunyi - bunyian ("objects that sound"): dipukua ("beaten"), dipupuik ("blown), dipatiek (" plucked "), ditariek (" pulled "), digesek (" bowed "), dipusiang (" swung "). The last one is for the bull - roarer . They also distinguish instruments on the basis of origin because of sociohistorical contacts, and recognize three categories: Mindangkabau (Minangkabau asli), Arabic (asal Arab), and Western (asal Barat), each of these divided up according to the five categories . Classifying musical instruments on the basis sociohistorical factors as well as mode of sound production is common in Indonesia . </P> <P> The Batak of North Sumatra recognize the following classes: beaten (alat pukul or alat palu), blown (alat tiup), bowed (alat gesek), and plucked (alat petik) instruments, but their primary classification is of ensembles . </P> <P> In West Africa, tribes such as the Dan, Gio, Kpelle, Hausa, Akan, and Dogon, use a human - centered system . It derives from 4 myth - based parameters: the musical instrument's nonhuman owner (spirit, mask, sorcerer, or animal), the mode of transmission to the human realm (by gift, exchange, contract, or removal), the making of the instrument by a human (according to instructions from a nonhuman, for instance), and the first human owner . Most instruments are said to have a nonhuman origin, but some are believed invented by humans, e.g., the xylophone and the lamellophone . </P> <P> In 1960, German musicologist Kurt Reinhard presented a stylistic taxonomy, as opposed to a morphological one, with two divisions determined by either single or multiple voiced playing . Each of these two divisions was subdivided according to pitch changeability (not changeable, freely changeable, and changeable by fixed intervals), and also by tonal continuity (discontinuous (as the marimba and drums) and continuous (the friction instruments (including bowed) and the winds), making 12 categories . He also proposed classification according to whether or not they had dynamic tonal variability, a characteristic that separates whole eras (e.g., the baroque from the classical) as in the transition from the terraced dynamics of the harpsichord to the crescendo of the piano, grading by degree of absolute loudness, timbral spectra, tunability, and degree of resonance . </P>

What are the classification of traditional african instrument
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