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Journal articles on the topic 'African music'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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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4

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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6

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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7

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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9

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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Gazit, Ofer, and Nili Belkind. "Affective Authenticity." Journal of Popular Music Studies 36, no. 1 (March 1, 2024): 51–78. http://dx.doi.org/10.1525/jpms.2024.36.1.51.

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This article develops the concept of “affective authenticity” to explore the experiences and reception of US-based African migrant musicians in the 1960s and 1970s. Based on interviews, archival sources and musical analysis, we trace the migration stories of South African singer Letta Mbulu and the ways in which she negotiated conflicting demands for “authenticity” in her musical performances on the American stage. Affective authenticity represents a heterogenous, explorative sound, reflecting pan-African politics and aesthetics that created the very conditions for African and African American musical collaborations. This aesthetic was countered with expectations for “scientific authenticity:” an ethno-linguistically circumscribed performance that catered to colonial ears and conceptualized African musics as insular, ancient and unchanging – an aesthetic held and policed primarily by (white) music critics. Through analysis of the Yoruba hymn Ise Oluwa (1927) and its “translations” in Mbulu’s performance on the soundtrack for the television show Roots (1977), we show the careful balance of voices, texts, instruments, and rhythms African migrant musicians perform in order to adhere to conflicting demands for authenticity, and the rebuke they experience when they transgress them. We also place conceptualizations of affective and scientific authenticity applied to popular music in broader discourses occurring during the height of the civil rights movement in the United States, the decolonization of Africa, and the entrenchment of the apartheid regime in South Africa.

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12

Foster Eddison, Mawusi. "Music and Dance Traditions of Africa: Search for Indigenous Theories and Methods in Research." International Journal of Research and Innovation in Social Science VIII, no. VI (2024): 3173–82. http://dx.doi.org/10.47772/ijriss.2024.806239.

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This study investigates the theory and methodology of researching, understanding, and appreciating the music and dance traditions of Africa, emphasizing the need for indigenous perspectives. The discourse examined extensive scholarly works and theories related to African music and dance, focusing on contributions from both African and non-African researchers. It addresses misconceptions held by non-African researchers and highlights the contributions of African scholars in rectifying these views. The study underscores the distinction between “geo-Africa,” which focuses on the distribution and material culture of African ethnicities, and “eco-Africa,” which examines the relationship between human activities and the environment. African scholars argue for the importance of their voices in African cultural studies, as they are better positioned to understand and explain their traditions. The study concludes that African voices have significantly advanced the theory and method in this field, promoting a comprehensive and culturally relevant approach to researching, understanding, and appreciating African music and dance.

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13

Collins, John. "Musical Feedback: African America’s Music in Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 26–27. http://dx.doi.org/10.1017/s0047160700502315.

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Since the end of the nineteenth century, black music has been prominent in the international arena—from ragtime to rumba and jazz, right up to today’s black and white fusions. Dance music and drama originally from Africa were adapted to the New World, creating an enormous impact there and feeding back into the mainstream of music in Africa itself. This double transformation, brought about by leaving and returning home, has created a truly international music-style in Africa, and yet one that is doubly African.

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14

F. A., Emmanuel, and Samuel A. "The Bible and Music in African Christianity." African Journal of Culture, History, Religion and Traditions 7, no. 1 (March 7, 2024): 51–66. http://dx.doi.org/10.52589/ajchrt-8kkxghxp.

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This bibliographic study explores the interplay between the Bible and music within the context of African Christianity. Underpinned by the theory of syncretism, the paper employs a contextual thematic analysis to unravel the nexus between African indigenous music and Christian worship and draws implications for both scholarship and practice. Findings indicate that early European missionaries incited a satanic impression against the use of African indigenous music among Christian worshippers. It was contrarily revealed that Bible-informed use of African music in Christian worship is imperative for evangelisation, deeper spirituality, and faster church growth in Africa. In conclusion, the paper emphasises that the Bible and (indigenous) music are inseparable. It also maintains that music has the transformative power of fostering community cohesion, religious identity, and spiritual devotion among African Christians. Finally, the paper recommends greater collaboration among scholars, theologians, music educators, and gospel music practitioners in the African context in accomplishing the goal of the gospel.

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15

Agawu, Kofi. "The Challenge of African Art Music." Circuit 21, no. 2 (July 21, 2011): 49–64. http://dx.doi.org/10.7202/1005272ar.

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This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a new anthology, Piano Music of Africa and the African Diaspora, edited by Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the encounters of Steve Reich and György Ligeti with various African repertories. Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, Uzoigwe, Euba, Labi and Osman serve as illustration.

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16

Martin, Denis. "Le triolet multicolore. Dans la musique sud-africaine, une blanche n'égale pas nécessairement deux noires..." Politique africaine 25, no. 1 (1987): 74–81. http://dx.doi.org/10.3406/polaf.1987.3850.

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South African music : a fuzzy triplet... South African music can be perceived as the aesthetical embodiment of a broader dream of cultural unity expressed in different representations and ideologies. History shows that it grew out of many contacts between South Africa’s different communities ; today’s musical forms blend characters borrowed from their cultural traditions. But, because of segregation and apartheid, South African popular music, in spite of its mixity, has acquired a «black» identity that leads supporters of the «white» powers to categorize its practitioners and fans alike as «pro-African» or «anti-apartheid». What is the most complete expression of the common history of South African peoples has therefore been put into the hands of the African majority which is, now, the only group liable to give it back to South Africa as a whole. In this particular respect, as in some others, music participates in the struggle for the liberation of South Africa.

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Adedeji, Femi. "Singing and Suffering in Africa A Study of Selected Relevant Texts of Nigerian Gospel Music." Matatu 40, no. 1 (December 1, 2012): 411–25. http://dx.doi.org/10.1163/18757421-040001027.

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A major aspect of African music which has often been underscored in Musicological studies and which undoubtedly is the most important to Africans, is the textual content. Its significance in African musicology is based on the fact that African music itself; whether traditional ethnic, folk, art or contemporary, is text-bound and besides, the issue of meaning 'what is a song saying?' is paramount to Africans, whereas to Westerners the musical elements are more important. This is why the textual content should be given more priority. In terms of the textual content, Nigerian gospel music, an African contemporary musical genre which concerns itself with evangelizing lost souls, is also used as an instrument of socio-political and economic struggle. One of the issues that have been prominent in the song-texts is the suffering of the masses in Africa. This essay aims at taking a closer look at the selected relevant texts in order to interpret them, determine their message, and evaluate their claims and veracity. Using ethnomusicological, theological, and literary-analytical approaches, the essay classifies the texts into categories, finding most of the claims in the texts to be true assessments of the suffering conditions of the Nigerian masses. The essay concludes by stressing the need to pay more attention to the voice of the masses through gospel artists and for people in the humanities to work energetically towards fostering permanent solutions to the problem of suffering in Africa in general.

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Rae, Caroline. "Piano Music of Africa and the African Diaspora, Vol. 1Piano Music of Africa and the African Diaspora, Vol. 2Piano Music of Africa and the African Diaspora, Vol. 3." Ethnomusicology 53, no. 1 (January 1, 2009): 146–51. http://dx.doi.org/10.2307/25653052.

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Collins, John. "Musical Feedback: African America's Music in Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 26. http://dx.doi.org/10.2307/1166841.

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20

CHRISMAN, LAURA. "American Jubilee Choirs, Industrial Capitalism, and Black South Africa." Journal of American Studies 52, no. 2 (May 2018): 274–96. http://dx.doi.org/10.1017/s002187581700189x.

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Focusing on the Virginia Jubilee Singers, an African American singing ensemble that toured South Africa in the late nineteenth century, this article reveals how the transnational reach of commercialized black music informed debates about race, modernity, and black nationalism in South Africa. The South African performances of the Jubilee Singers enlivened debates concerning race, labor and the place of black South Africans in a rapidly industrializing South Africa. A visit from the first generation of global black American superstars fueled both white and black concerns about the racial political economy. The sonic actions of the Jubilee Singers were therefore a springboard for black South African claims for recognition as modern, educated and educable subjects, capable of, and entitled to, the full apparatus, and insignia, of liberal self-determination. Although black South Africans welcomed the Jubilee Singers enthusiastically, the article cautions against reading their positive reception as evidence that black Africans had no agenda of their own and looked to African Americans as their leaders in a joint struggle.

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Agawu, Kofi. "Representing African Music." Critical Inquiry 18, no. 2 (January 1992): 245–66. http://dx.doi.org/10.1086/448631.

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22

Kwami, Robert. "A West African Folktale in the Classroom." British Journal of Music Education 3, no. 1 (March 1986): 5–18. http://dx.doi.org/10.1017/s026505170000509x.

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The author describes an investigation into the use of West African folklore in the school curriculum by means of an African folktale which became the basis for a project in the class music lessons. Starting with research into West African folklore, particularly children's stories and songs, in Ghana and Nigeria between 1979 and 1983, music was composed in a basically African style to go with an adaptation of one of the stories.The practical work in a London primary school investigated ways of minimising the apparent dichotomy between African and Western musics in the curriculum.

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Polak, Fiona, and Athol Leach. "DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS." Mousaion: South African Journal of Information Studies 32, no. 3 (September 30, 2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.

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Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polakâ€™s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The guiding theoretical framework is based on the Berne Convention (2014) and the World Intellectual Property Organization (WIPO) Copyright Treaty (1996) which provide the overarching international framework for guiding copyright. The literature review focuses on the international and national legislation; copyright in original recordings; duration of copyright; fair use, the public domain and information commons; copyright and fair dealing; and the South African Copyright Act (No. 98 of 1978). A survey conducted by e-mail identified problem areas experienced by the music librarians regarding the digital music copyright laws in South Africa. Two sets of guidelines for South African music librarians were formulated using their responses and the literature reviewed, and recommendations are made.

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Agawu, Kofi. "An African Understanding of African Music." Research in African Literatures 32, no. 2 (June 2001): 187–94. http://dx.doi.org/10.2979/ral.2001.32.2.187.

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Agawu, V. Kofi (Victor Kofi). "An African Understanding of African Music." Research in African Literatures 32, no. 2 (2001): 187–94. http://dx.doi.org/10.1353/ral.2001.0038.

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26

Muller, Stephanus. "MICHAEL BLAKE'S STRING QUARTETS AND THE IDEA OF AFRICAN ART MUSIC." Tempo 76, no. 300 (April 2022): 6–17. http://dx.doi.org/10.1017/s0040298221000887.

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AbstractThis article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth century is an obvious reason why this has been the case. But there is also the possibility that white South African composers during and after apartheid have engaged in composition from different intellectual and aesthetic starting points, compared to their African counterparts, due to the specific kind of coloniality they inhabit. The five string quartets afford a perspective on how Michael Blake negotiated the continuities of compositional authority and universalised commitment to a traditional Western sound ideal in the string quartet, with the self-awareness that white composition in post-apartheid South Africa arguably requires.

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Kwami, Robert. "An Approach to the Use of West African Musics in the Classroom Based on Age and Gender Classifications." British Journal of Music Education 8, no. 2 (July 1991): 119–37. http://dx.doi.org/10.1017/s0265051700008238.

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This article proposes age and gender as a way of classifying music; it raises awareness of the importance of age–gender classifications of West African musics; and introduces examples of West African musics.It is argued that the classifications could help in selecting musics for curricular use: they could be used as a framework to choose African musics for school curricula; while the musical examples may be of some use to teachers. Three curricular perspectives – musical, intercultural and multidisciplinary – are suggested, the first of which draws on African drumming procedures and creative work.

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Okakpoturi, Ejedaferu Samson. "Literature of the Black Diaspora and the Performance of Caribbean and African American Aural Texts." Tropical Journal of Arts and Humanities 5, no. 1 (2023): 17–27. http://dx.doi.org/10.47524/tjah.v5i1.18.

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The second half of the twentieth century, witnessed a new kind of literature often referred to as "Literature of the Black Diaspora; its appearance and acceptance into mainstream world literature was not without hostilities: overcame what seems like a futile effort, and now a major world literature. One salient feature of literature of the black Diaspora is the representation of aural texts in its composition and reception. This paper is therefore designed to examine the concept and performance of Afro-Caribbean and African American aurality as African legacy and constituent of the Black Literature. This paper, with reference to specific oral and aural texts, discovers that the performance of orality and aurality is a veritable heritage of the Caribbean and African American poetry and this criticism of the black vernacular tradition ranging from the spirituals and blues to jazz, calypso, reggae, hip-hop, gospel, and other contemporary poetic forms indicates that African American and Afro-Caribbean music is particularly rich in mixture of African tradition. The tradition was heralded by the forceful movement of Africans from their native land, through the middle passage, and their ultimate adaptation to a new land. Thus, music is to Africa as the anvil is to the blacksmith, and slavery was the surface on which American and Caribbean music was forged no matter how refined they are now. Aside emotional needs, as with Baldwin and Du Bois, music gives black people ―ability to say ―things‖ that otherwise cannot be said- blurs that boundary between the white man and the black man‖.

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Muller, S. J. "Imagining Afrikaners musically: Reflections on the ‘African music’ of Stefans Grové." Literator 21, no. 3 (April 26, 2000): 123–38. http://dx.doi.org/10.4102/lit.v21i3.504.

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For nearly two decades Stefans Grové has been composing music that absorbs the cultural “Other" of Africa in a manner that defies an easy classification of ‘‘indigenous’’ principles and “exotic” appropriation. His own conception of himself as an African who composes African music challenges the inhibition of “white” Afrikaner culture and revivifies Afrikaner culture as African culture. In so doing, Grové is consciously subverting the myth of a united Africa over against a monolithic "West” - and with it the legitimacy of an autochthonous echt African culture previously excluded by “whites" and Afrikaners. This article takes a closer look at the strategies and techniques involved in this fin de siècle musical imaginings of Afrikaner identity.

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Okeke, Remi Chukwudi. "Politics, Music and Social Mobilization in Africa: The Nigeria Narrative and Extant Tendencies." International Letters of Social and Humanistic Sciences 86 (March 2019): 28–41. http://dx.doi.org/10.18052/www.scipress.com/ilshs.86.28.

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The impact of music on politics in Africa has seemingly remained dominant. But the overall sway of the African political processes has also become bewildering. The panacea to the disconcerting results of these political procedures in Africa is the adequate levels of social mobilization, while music ostensibly mobilizes massively. This chapter thus examines the linkages among politics, music and social mobilization in Nigeria (the most populous African country). Framed on the hypothesis that the relationship among politics, music and social mobilization in Nigeria (Africa) is now downbeat and using the elite theoretical and the political economy frameworks of analyses, the authors study the intervening factors responsible for the observed gloom in what had amounted to progressive relationships among politics, music and social mobilization in Nigeria and the wider continent. The research setting is qualitative. The chapter delves into its premises through the historical and descriptive research methodologies and logical argumentation.

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Carver, Mandy. "KNOWLEDGE TRANSFER: INDIGENOUS AFRICAN MUSIC IN THE SOUTH AFRICAN MUSIC CURRICULUM." African Music: Journal of the International Library of African Music 10, no. 3 (2017): 119–41. http://dx.doi.org/10.21504/amj.v10i3.2199.

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32

Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.

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Arlt, Veit. "The Union Trade Company and Its Recordings: An Unintentional Documentation of West African Popular Music, 1931–1957." History in Africa 31 (2004): 393–405. http://dx.doi.org/10.1017/s0361541300003569.

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This paper introduces a unique collection of roughly 700 historical recordings of African popular music generated by a Swiss trading company, which today is located at the archives of mission 21 (formerly Basel Missioin) in Basel. The music was recorded and distributed by the Union Trade Company of Basel (UTC) during the 1930s and 1950s in the Gold Coast and Nigeria. The collection represents a rich resource for the study of African history and cultures and caters for the growing interest shown by social historians of Africa in everyday life and accordingly in leisure activities and consumption.As music and dance undoubtedly play an important role in African social and religious life, they have received much attention and there is a longstanding tradition of ethnomusicological research that has led to a great number of sound collections. The historian interested in the “modern” and “postmodern” or in popular culture, however, tends in many cases to be frustrated by the material contained in these archives. The ethnographic collectors often showed a blind eye to the modernizing forces within the African musical cultures they researched and concentrated on documenting what they perceived as the “original” or “traditional.” Furthermore the collection and documentation of the popular music of the day was rarely on the agenda of national research institutions and archives in postcolonial Africa. In the case of Ghana at least three initiatives have resulted in important collections of music that go beyond a narrow ethnographic documentation. The first, by Prof. Kwabena Nketia at the Centre of African Studies at the University of Ghana, features a mixture of field recordings and a few commercial records. The others focus specifically on the commercial and popular. These are the Gramophone Records Museum in Cape Coast, discussed below by its founder Kwame Sarpong and the Bokoor African Popular Music Archives Foundation (BAPMAF) of John Collins in Accra.

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Masasabi, Nancy A., and Fred W. Kususienya. "THE GLOBALISATION OF AFRICAN MUSICAL INSTRUMENTS: A CASE OF THE ADEUDEU OF TESO COMMUNITY IN KENYA." African Musicology Online 11, no. 1 (December 30, 2022): 85–99. http://dx.doi.org/10.58721/amo.v11i1.79.

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There are various insights into the discourse of musical culture from a global context. Some of these insights include the impact of globalisation on the music industry and African music-making at large. African musical instruments continue to be cultural artifacts and productions of immaterial culture and music. African instruments have not remained static but have responded to intercultural reciprocity. This study stems from an ambit that has discussed African traditional musical instruments such as the Mbira, Kora, Djembe, and Endara of West and South Africa but needs to pay more attention to those from East Africa and Kenya in particular. This paper is a case study of the Adeudeu (a chordophone), a principal instrument of the Teso community in Western Kenya and a symbol of their cultural identity. The purpose is to highlight the extent to which traditional musical performances have been appropriated and retained in the contemporary setting creating their popular music. The study engaged eight musical groups drawn from each of Teso district’s divisions, selected through purposive and snowball sampling. Qualitative data analysis was used. The paper analyses music performed on the traditional Adeudeu vis a vis that performed on the contemporary Adeudeu to elucidate similarities and differences in music making. The argument is that a change in one element of the musical ensemble has ramifications on the music producing a different ‘musical colour’. The paper culminates in highlighting changes that have taken place on the instrument and the overall musical rendition of the Teso.

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Munyaradzi, Givewell, and Webster Zimidzi. "Comparison of Western Music and African Music." Creative Education 03, no. 02 (2012): 193–95. http://dx.doi.org/10.4236/ce.2012.32030.

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Floyd, Malcolm. "Missing Messages: Lessons from Tanzania." British Journal of Music Education 15, no. 2 (July 1998): 155–60. http://dx.doi.org/10.1017/s026505170000930x.

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How can music help to create a culture of tolerance when there are fundamental problems in decoding the messages in the musk of others? There is quite good access in British and other schools to musical materials from Africa, and use has been made of them, but there is a question as to whether this use is appropriate and acceptable. The concept of ownership of such music is briefly discussed, and the relative effectiveness of its transmission. This is then set in the contexts of Music Education and the strength of Christianity in contemporary Tanzania, including some of the problems perceived by Tanzanian students and teachers. These contexts have to be acknowledged, and the article concludes with two suggestions for making the inclusion of African music in British schoob a more transformative experience, ideally through direct links with sources of African music in Africa.

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Lazarus, Neil, and Carol Lems-Dworkin. "African Music: A Pan-African Annotated Bibliography." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 27, no. 1 (1993): 138. http://dx.doi.org/10.2307/485467.

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Harris, Laura Arntson, and Carol Lems-Dworkin. "African Music: A Pan-African Annotated Bibliography." African Studies Review 36, no. 2 (September 1993): 127. http://dx.doi.org/10.2307/524747.

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Southern, Eileen, Wolfgang Bender, Jacqueline Cogdell DjeDje, and William G. Carter. "Perspectives on African Music." Black Perspective in Music 18, no. 1/2 (1990): 235. http://dx.doi.org/10.2307/1214896.

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Oppenheim, Katharine Cartwright, and Gerhard Kubik. "Theory of African Music." Yearbook for Traditional Music 27 (1995): 141. http://dx.doi.org/10.2307/768111.

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Agawu, Kofi. "African Music as Text." Research in African Literatures 32, no. 2 (June 2001): 8–16. http://dx.doi.org/10.2979/ral.2001.32.2.8.

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Saunders, Leslie R., and Joy Nwosu Lo-Bamijoko. "Conversation on African Music." Music Educators Journal 71, no. 9 (May 1985): 56. http://dx.doi.org/10.2307/3396526.

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Irele, Abiola. "Is African Music Possible?" Transition, no. 61 (1993): 56. http://dx.doi.org/10.2307/2935222.

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Kauffman, Robert, and Alan P. Merriam. "African Music in Perspective." Ethnomusicology 29, no. 2 (1985): 374. http://dx.doi.org/10.2307/852158.

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Agawu, V. Kofi (Victor Kofi). "African Music as Text." Research in African Literatures 32, no. 2 (2001): 8–16. http://dx.doi.org/10.1353/ral.2001.0037.

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Tracey, Andrew, and Gei Zantzinger. "Films on African music." African Music: Journal of the International Library of African Music 7, no. 4 (1999): 197–201. http://dx.doi.org/10.21504/amj.v7i4.2014.

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Oehrle, Elizabeth. "ISME and African Music." International Journal of Music Education os-8, no. 1 (November 1986): 51–52. http://dx.doi.org/10.1177/025576148600800113.

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Williams, Patrice Jane. "African American Sheet Music." Charleston Advisor 24, no. 3 (January 1, 2023): 5–9. http://dx.doi.org/10.5260/chara.24.3.5.

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African American Sheet Music is a database created by the Center for Digital Scholarship located in John Hay Library at Brown University. It is a culturally rich database filled with sheet music, illustrations, lyrics, and music publishing history centering around the lives of African American composers, musicians, singers, dancers, and stage actors. Various descriptions have the holdings set between different collection dates; however, in the search filters researchers can search items between 1800 and 1926, with some years missing in between. African American Sheet Music contains a wealth of information about African American theater during eras such as the Antebellum South, the Civil War, Reconstruction, and Post-Reconstruction. In addition, there are important illustrations for blackface minstrelsy. Approximately 1,455 items are digitized and readily available for research usage.

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Pointer, Rebecca. "Beyond western Afro-pessimism: The African narrative in African and non-western countries." Journal of African Media Studies 15, no. 2 (June 1, 2023): 151–60. http://dx.doi.org/10.1386/jams_00097_2.

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Although some studies have previously indicated that the stereotypical western mainstream media narratives about Africa may be shifting, this Special Issue highlights the stickiness of the stereotypes, and some of the platforms on which they continue to be repeated. Some of these studies further show how African media are also responsible for ongoing circulation of the stereotypes. While the data are discouraging, there are pockets of hope on digital media (including social media), where women and youth are taking back the proverbial pen using storytelling and humour to show that Africa is neither monolithic, nor all doom and gloom. Even through the COVID-19 pandemic, Africans entertained the world with music, dancing and comedy, proving resilience and optimism, against Afro-pessimistic narratives.

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Ekpo, Omotolani Ebenezer. "Decolonizing the African musical language and Identity through Onyeji’s ‘Research Approach to music composition’ in Nigeria." African Musicology Online 12, no. 2 (July 13, 2023): 43–55. http://dx.doi.org/10.58721/amo.v12i2.258.

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Ongoing research in the arts, humanities and social sciences has largely explored different subjects on decolonising African socio-cultural perspectives, including music composition and performances. Art music composers in Nigeria and diaspora beyond creative expression have adopted their native languages as a viable tool for decolonising their continent. More recently, works and arguments of music scholars like Meki Nzewi, Dan Agu, Bode Omojola, Olusoji Stephen, and Christian Onyeji, among so many, have emphasised the deliberate creative engagement of indigenous languages and musical idioms as a tool for recovering Nigerian indigenous identity and sustainability of their indigenous musical cultures. Building on Hofstede’s theory on cross-cultural interactions and Vygotsky’s Sociocultural theory in addressing the issue of decolonising Africa through music and language, the study employed qualitative and ethnographic research methods to investigate the significance of Onyeji’s research compositional approach in sustaining African musical culture and identity. The study findings based on the analysis of the music piece “Abigbo for Modern Orchestra” and its creative milieu within the context of decolonisation conclude that art music composition based on thorough cultural investigations of a particular musical style or ensemble for heritage preservation is an effective medium of decolonising African music and language.

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