Relevant bibliographies by topics / African music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'African music'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "African music"

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Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.

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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions for South African art-music production and practice.
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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.
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Eurika Jansen van Vuuren. "Acculturation: An Investigation into Afri-Afrikaans or is it Afri-African?" PAN African Journal of Musical Arts Education 1, no. 1 (December 30, 2014): 1–11. http://dx.doi.org/10.58721/pajmae.v1i1.131.

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Acculturation is taking place in a subtle way in South African schools where the music of the Afrikaans people is taken by Africans and given an African flavour. This phenomenon can be seen in the work of artists like Bongani Nxumalo with his rendition of the Afrikaans song, Loslappie. The counter is also audible where modern Afrikaans music shows influences of African rhythms. This article addresses the issue of how South African teenagers are influenced by teenagers from other cultures in music and song, using a pragmatic paradigm. The researcher argues that acculturation is a spontaneous process where one is not consciously aware of the influences when living in a multi-cultural environment. More dominant cultures will have a more visible effect on minority cultures. In conclusion, this project by closely examining a sample of South African teenagers from different cultures during music-making sheds new light on the way acculturation takes place amongst teenagers in rural South Africa.
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Oehrle, Elizabeth. "Education Through Music: Towards A South African Approach." British Journal of Music Education 10, no. 3 (November 1993): 255–61. http://dx.doi.org/10.1017/s0265051700001790.

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Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.
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Mukhongo, L. Lusike, Winston Mano, and Wallace Chuma. "Young African diaspora: Global African narratives, media consumption and identity formation." Journal of African Media Studies 15, no. 2 (June 1, 2023): 231–46. http://dx.doi.org/10.1386/jams_00102_1.

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This study focused on identity formation and media consumption among first-generation young Africans in the diaspora. It investigated what it means to be African and the impact of multiple identities and forms of belonging within diasporic communities. Emphasis was on how they experience the diaspora as liminal spaces and subsequently negotiate relationships with other Africans in indeterminate diasporic spaces to construct, redefine, negotiate and even contest identities. Using snowballing and purposive sampling, the study analysed first-hand accounts and interviews informed by personal histories and lived experiences of (1) what they know about Africa; (2) their sense of belonging to Africa; (3) how Africa is represented in the media and (4) their views/attitudes on markers of African identity. Findings indicate that young Africans in the diaspora have a strong sense of belonging to Africa and are actively engaged with different forms of African media such as music and films.
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Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.

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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.
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Emielu, Austin. "Some theoretical perspectives on African popular music." Popular Music 30, no. 3 (September 21, 2011): 371–88. http://dx.doi.org/10.1017/s0261143011000249.

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AbstractPopular music occupies a dominant position in the musical landscape of contemporary Africa, yet academic study of popular music is still in its infancy in most parts of Africa. This may be due in part to the absence of theoretical frameworks that stimulate popular music discourses from the African perspective. This paper is an attempt to fill this lacuna. Based on a critical and qualitative analysis of data gathered from field situations, participant observation, interviews and published literary materials on the subject matter, the paper theorises that the creation of African popular music is characterised by two significant processes: indigenisation and syncretisation. The paper further states that African popular music is a socially responsive phenomenon, sustained through the interplay of cross-cultural and trans-national social dynamics. The paper therefore proposes ‘social reconstructionism’ as a new theoretical paradigm for the analysis of African popular music. The paper also suggests that the term ‘African pop’ should be adopted as a generic name for all popular music forms in Africa.
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Whitmore, Aleysia K. ""Cuban music is African music": negotiating Africa and the African diaspora on the world music stage." African Music: Journal of the International Library of African Music 9, no. 3 (2013): 111–21. http://dx.doi.org/10.21504/amj.v9i3.1913.

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Pasler, Jann. "Music and African Diplomacy at the Festival Mondial des Arts Nègres, Dakar, 1966." Diplomatica 3, no. 2 (December 28, 2021): 302–34. http://dx.doi.org/10.1163/25891774-03020004.

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Abstract To celebrate independence from France and promote better understanding between “continents, races, and cultures,” in 1966 Senegal produced the World Festival of Negro Arts. Forty-five nations participated. At its core were diplomatic goals involving music. Not only could music help Africans recover their pre-colonial heritage, it encouraged dialogue among cultures and cultural development fueling liberation from the colonial past. Listening for what was shared, as in jazz, and cooperating internationally, as in the Gorée spectacle and recordings competition, encouraged mutual understanding, the basis of alliances world-wide, essential for prosperity. By including African Catholic music, anglophone as well as francophone contributions, and radio broadcasts across Africa, the festival promoted inter-African alliances, necessary for lasting peace in Africa. Here, amid the cold war and this diverse soundscape of musical activities in Dakar, an African mode of diplomacy found its voice and its power. Dialogue, exchange, and cooperation would inspire a new future.
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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.
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Dissertations / Theses on the topic "African music"

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Nkabinde, Thulasizwe. "Indigenous features inherent in African popular music of South Africa." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.

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A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997.
The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
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Drummond, Urvi. "Music education in South African Schools after apartheid : teacher perceptions of Western and African music." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6298/.

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The South African classroom music curriculum has changed in the twenty years since the transition from apartheid to democracy in 1994. The broad imperative for the main music education policy shifts is a political agenda of social transformation and reconciliation. Policy aims are to include many more learners in the music classroom by promoting the study of diverse musics that were previously marginalised and by providing a framework for music education that allows learners to progress at their own pace. This research study investigated to what extent music teachers are able and likely to fulfil the requirements of the new, post-apartheid curriculum, with particular reference to the National Curriculum Statement music policies (NCS). Specifically, it considered whether teachers have a particular allegiance to Western and/or African music. Twelve South African music teachers were interviewed for this purpose. The latest music curriculum revision in the form of the Curriculum and Assessment Policy Statement (CAPS, 2011) has modified knowledge content by streaming music into three distinct but parallel genres. In addition to Western music, the curriculum incorporates Indigenous African music and Jazz as representative of the diverse cultural interests of South Africans. An analysis of post-apartheid music policy documents draws on post-colonial thought to frame the affirmation of African music by giving it a prominent place in the curriculum. In order to appreciate the role different musics are expected to play in the curriculum, the work of prominent ethnomusicologists provides a means to conceptualise the range of emerging musics, including World Music, Global Music and Cosmopolitan Music, and their differences. For teachers to comply with the policy directive to teach different musics to diverse learners, they are required to expand their knowledge and adapt their teaching styles to achieve these aims. This study highlights a lack of resources and of structured teaching support through continuing professional development as well as a need for policy to give clearer direction in the way it instructs teachers to execute the changes demanded of them in the curriculum. An investigation of teachers’ own musical education and their views of the new curriculum reveals that they are willing to teach a variety of musics. Their perceptions of the differences between Western and African music illustrate a reflective understanding of the challenges they face in this undertaking.
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Olson, Ted S. "African American Music in Southwest Virginia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5514.

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Excerpt: African Americans have lived in Southwest Virginia since the early eighteenth century, and their traditions—their verbal folklore, customary folklife, and material culture—have long influenced cultural life in Southwest Virginia. African American music has been particularly impactful in the region, yet many people today are unaware of the extent of that influence.
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Kwami, Robert Mawuena. "African music, education and the school curriculum." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.

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Coetzee, Paulette June. "Performing whiteness; representing otherness : Hugh Tracey and African music." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1016502.

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This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
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Haecker, Allyss Angela. "Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3461.

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De, Beer Rudolf. "The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/d1011781.

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This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
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Fisher, Alexander. "Music and modes of address in African Cinema." Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529563.

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McConnachie, Boudina. "Indigenous and traditional musics in the school classroom : a re-evaluation of the South African Indigenous African Music (IAM) curriculum." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/6806.

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Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.
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Rosner, Elizabeth. ""It's the Real Thing": The Marketing of an African Identity in a West African Dance Class." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336761459.

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Books on the topic "African music"

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Bender, Wolfgang. Sweet mother : modern African music: Modern African music. Chicago: University of Chicago Press, 1991.

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Carver, Mandy. Understanding African music. Grahamstown: International Library of African Music, 2012.

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Ewens, Graeme. Africa o-ye!: A celebration of African music. London: Guinness, 1991.

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Ewens, Graeme. Africa o-ye!: A celebration of African music. New York, N.Y., USA: Da Capo Press, 1992.

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Nketia, J. H. Kwabena. African music in Ghana. [Evanston, Ill.]: Northwestern University Press, 1996.

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Kubik, Gerhard. Theory of African music. Wilhelmshaven: F. Noetzel, 1994.

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Wolfgang, Bender, ed. Perspectives on African music. 2nd ed. Bayreuth: Breitinger, 1991.

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Mbabi-Katana. African music for school. Kampala: Fountain Publishers, 2002.

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Kubik, Gerhard. Theory of African music. Chicago: The University of Chicago Press, 2010.

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Kubik, Gerhard. Theory of African music. Chicago: The University of Chicago Press, 2010.

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Book chapters on the topic "African music"

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "African Music." In Anthology to Accompany Gateways to Understanding Music, 29–30. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-11.

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Chernoff, John Miller. "African Music." In Aesthetics, 229–32. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-47.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "African American Religious Music." In Anthology to Accompany Gateways to Understanding Music, 232–33. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-36.

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Hutchinson, Sydney. "African Musical Legacies." In Focus: Music of the Caribbean, 66–94. Other titles: Music of the Caribbean Description: New York : Routledge, 2019. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9781315106052-4.

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Palmer, Eustace. "African technology, music, and art." In Africa, 246–69. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003111733-13.

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Salawu, Abiodun, and Israel A. Fadipe. "Introduction: Indigenous African Popular Music." In Indigenous African Popular Music, Volume 1, 1–21. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97884-6_1.

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Bakenne, Nureni Aremu, and Olanrewaju John Ogundeyi. "Socio-cultural Issues in Ayinla Omowura's Music." In African Language Media, 261–78. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003350194-25.

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Parsitau, Damaris Seleina. "Gospel Music in Africa." In The Wiley-Blackwell Companion to African Religions, 489–502. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118255513.ch35.

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Arom, Simha, and Denis-Constant Martin. "Music, Philosophy, and Culture." In Encyclopedia of African Religions and Philosophy, 475–78. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_261.

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Agawu, Kofi. "Music and Religious Practices." In Encyclopedia of African Religions and Philosophy, 472–75. Dordrecht: Springer Netherlands, 2021. http://dx.doi.org/10.1007/978-94-024-2068-5_260.

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Conference papers on the topic "African music"

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Dalamba, Lindelwa. "Popular music, folk music, African music: King Kong in South Africa and London." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.13.

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Coetzee, Paulette. "Hugh Tracey, authenticity and (African) popular music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.12.

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Netshivhambe Evans, N. "THE IMPORTANCE OF DOCUMENTING INDIGENOUS AFRICAN SHEET MUSIC." In International Conference on Arts and Humanities. The International Institute of Knowledge Management (TIIKM), 2018. http://dx.doi.org/10.17501/icoah.2017.4111.

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Livingstone, David. "Breaking Blackface: African Americans, Stereotypes, and Country Music." In 10th Annual Conference of the Croatian Association for American Studies: Breaking Stereotypes in American Popular Culture. University of Zagreb Faculty of Humanities and Social Sciences; Croatian Association for American Studies, 2023. http://dx.doi.org/10.17234/9789533791258.08.

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Ralfe, Sarah. "Local is lekker? The perceptions of South African music among Durban adolescents." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.28.

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Ballantine, Christopher. "Music, the word and the world; or the banality of (South African) classification." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.04.

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Moshugi, Kgomotso. "A Musical History Through Vocal Expressions at the Abbey Cindi Cosmology Concert." In Arts Research Africa 2022 Conference Proceedings. Arts Research Africa, 2022. http://dx.doi.org/10.54223/10539/35900.

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Abstract:
This paper reports on a research project that culminated in a concert honoring South African musician and activist Bra Abbey Cindi. The project involved reissuing Cindi’s album, forming a band of young musicians to perform his music, and creating a vocal group called No Limits to reinterpret Cindi’s earlier South African choral works. The paper proposes the use of music to explore the past, present, and future, linking generations and addressing social issues. It discusses specific compositions, their lyrical and musical merits, and the process of arranging them for vocal performance. The paper also highlights the role of community engagement and the value of reimagining historical musical works.
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Calilhanna, Andrea M., and Stephen Gbakobachukwu Onwubiko. "Decolonizing African music with visualizations and sonifications using beat-class theory." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001134.

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Marsden, Marc, and Ritesh Ajoodha. "Algorithmic Music Composition Using Probabilistic Graphical Models and Artificial Neural Networks." In 2021 Southern African Universities Power Engineering Conference/Robotics and Mechatronics/Pattern Recognition Association of South Africa (SAUPEC/RobMech/PRASA). IEEE, 2021. http://dx.doi.org/10.1109/saupec/robmech/prasa52254.2021.9377235.

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Pereda, Javier, Patricia A. Murrieta-Flores, Nicholas Radburn, Lois South, and Christian Monaghan. "Afrobits: An interactive installation of African music and the Trans-Atlantic slave trade." In Proceedings of EVA London 2020. BCS Learning and Development Ltd, 2020. http://dx.doi.org/10.14236/ewic/eva2020.19.

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Reports on the topic "African music"

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Mehegan, Laura, and G. Chuck Rainville. Music and Brain Health Among African American/Black Adults. Washington, DC: AARP Research, November 2020. http://dx.doi.org/10.26419/res.00387.004.

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