In a typical African village musical genres abound; there is music for healing purposes, music for the church, music for rites of passage, music for entertainment, and so forth. Notwithstanding subtleties only discernible from within, villagers involve themselves in overlapping music-making contexts and experiences. It is common to find an individual subscribing to more than one musical tradition with ease. The fluidity that enables African villagers to move across musical genres suggests a presence of a musico-psycho-motive¬-―perhaps a musical genome awoken by common socialisation processes―thread running across the genres. Observing African responsive behaviour towards rhythm, or even soliciting philosophical vocalisation illuminates this thread. Delving deeper along this line of enquiry, one begins to unravel the incentive(s) that seems to compel the body, and indeed sends the soul into one obit; and back. This presentation discusses preliminary findings about this phenomenon, taking into account the philosophical explanations of music participants. Perhaps by following this line of inquiry one will come closer to some understanding, as to why African music has affected, and continues to affect humanity the way it does.