Relevant bibliographies by topics / Popular music Africa History and criticism

Academic literature on the topic 'Popular music Africa History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Popular music Africa History and criticism"

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Desler, Anne. "History without royalty? Queen and the strata of the popular music canon." Popular Music 32, no. 3 (September 13, 2013): 385–405. http://dx.doi.org/10.1017/s0261143013000287.

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AbstractAlthough canon formation has been discussed in popular music studies for over a decade, the notion of what constitutes ‘the popular music canon’ is still vague. However, considering that many scholars resent canon formation due to the negative effects canons have exerted on other academic fields, analysis of canon formation processes in popular music studies seems desirable: awareness of these processes can be a valuable tool for scholars’ assessment of how their academic choices contribute to canon formation. Based on an examination of the reception history of Queen in the popular mainstream, music criticism and academia, this article argues that a universally valid popular music canon does not exist and that canon formation in popular music is based on the same criteria as in the ‘high’ arts, i.e. transcendence, historical importance and ‘greatness’, although the latter is replaced by ‘authenticity’ in the popular music context. While canons can be theorised in various ways, a model that distinguishes between canonic strata according to listeners’ relationship to music is particularly useful as it reveals the relative importance of the three canonic criteria within different strata and how they are applied.
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Tukova, Iryna, Valentina Redya, and Iryna Kokhanyk. "Ukrainian Music Criticism of the 2010s: General Situation, Problems, Directions of Development (Based on the Examples From Contemporary Art Music Scene)." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 129–43. http://dx.doi.org/10.24193/subbmusica.2022.2.07.

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"The paper focuses on the 2010s in the history of Ukrainian music criticism. The materials on contemporary art music were chosen to support the authors’ reflections and conclusions. Selection of the time, period and material for the research are conditioned both with the specific social situation of Ukraine and with the recent developments in its music scene. The paper characterizes the main media, most popular critical genres, and methods of critical coverage. It is highlighted that the problems of Ukrainian music criticism during the 2010s were linked to the post-Soviet past and, in general, to the colonial status of Ukrainian culture in the Russian Empire and later in the Soviet Union. Such problems include the absence of independent journals for music criticism, dominance of information genres over reviews, general stable positive evaluation of musical scene activity etc. A few examples illustrate the gradual changing of situation during the 2010s. The authors offer to consider that new period of Ukraine music criticism history began in 2020 when The Claquers, a critical media about art music in Ukraine and abroad aiming to solve the mentioned problems, was established. Keywords: Ukrainian music criticism, contemporary art music, policy of colonialism, review, announcement. "
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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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BALLANTINE, CHRISTOPHER. "Re-thinking ‘whiteness’? Identity, change and ‘white’ popular music in post-apartheid South Africa." Popular Music 23, no. 2 (May 2004): 105–31. http://dx.doi.org/10.1017/s0261143004000157.

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In South Africa, the prospects for social integration were auspicious after the first democratic elections in 1994. As the popular music of the time shows, it was not only blacks who exulted in the new ‘rainbow’ euphoria: many whites did so too. But for millions of black and white citizens, this moment was short lived. The government's adoption of neo-liberal policies had severe social consequences – which it and the new elite sought to conceal behind populist calls to ‘race’ solidarity, a new racial typecasting and slurs aimed at whites in general. ‘White’ popular music has responded to these reversals in a variety of ways – including direct criticism, sharp satire, humour and the expression of ‘fugitive’ identities. Perhaps more remarkably, white musicians have stressed the need for self-reinvention in music that is ironic, unpredictable, transgressive. These songs play with malleable identities; tokens of a disdain for fixed or essential identities, they are hopeful signposts towards a more integrated future.
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Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.

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This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.
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Situma, J., F. Atoh, and J. Ndohvu. "Mapping out the Identity of African Arts and Aesthetics." Thought and Practice 7, no. 1 (August 8, 2016): 77–102. http://dx.doi.org/10.4314/tp.v7i1.5.

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This article utilizes the hermeneutic theory of Paul Ricoeur and its concepts of text, historicity, distance, narrative and metaphor to map out the salient features of African arts and aesthetics. It also uses the Ricoeurian concept of metaphor to demarcate the boundary between art and popular art. The focus of this mapping out is literature, visual arts, music and art criticism. The identity of African literature bears imprints of various indigenous and foreign languages, and pertinent to Ricoeur, the deployment of metaphor. Thematic concerns are patently African by virtue of the historicity of the discourses that feature in the novels, poems and plays. On the other hand, art criticism in contemporary Africa manifests a lack of responsibility, and its practitioners would enhance their capacity by drawing from Ricoeur’s philosophy of interpretive responsibility. Although discourse is significantly valuable in mapping out identity in the African novel, its applicability to the identity of painting, poetry and music is slightly constrained. Furthermore, Ricoeur’s concept of textual autonomy is of least value in dealing with the identity features of symbolic painting and symbolic arts. Key WordsAfrican arts, Ricoeur, Criticism and Responsibility, Metaphor, Historicity
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Arlt, Veit, and Ernst Lichtenhahn. "Recordings of African Popular Music: A Valuable Source for Historians of Africa." History in Africa 31 (2004): 389–91. http://dx.doi.org/10.1017/s0361541300003557.

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In December 2002 the Swiss Society for Ethnomusicology (CH-EM), in cooperation with the Centre for African Studies of the University of Basel and with mission 21 (formerly Basel Mission), organized a symposium on the theme “Popular Music from Ghana: Historical Records as a Contribution to the Study of African History and Culture.” The conference concluded a week of lectures, workshops, and concerts with Ghanaian “palmwine” and Highlife music, a program which was realized in cooperation with the Basel Academy of Music and the two associations, Ghana Popular Music 1931-1957 and Scientific African e.V. The papers read at the symposium are, in our opinion, of interest to the readers of History in Africa, as they discuss a specific kind of source and the methodological issues pertaining to it, as well as offer insights into possible themes of research, giving some idea of the potential of the recordings as a source. We present the contributions here in a slightly revised form, and, in order to round off the discussion, we have invited the curators of two further sound collections of interest to scholars working on African history, to describe their archives.
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Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

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During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.
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Lofton, Kathryn. "Dylan Goes Electric." Journal of Popular Music Studies 33, no. 2 (June 1, 2021): 31–50. http://dx.doi.org/10.1525/jpms.2021.33.2.31.

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Within the study of rock music, religion appears as a racial marker or a biographical attribute. The concept of religion, and its co-produced opposite, the secular, needs critical analysis in popular music studies. To inaugurate this work this article returns to the moment in singer-songwriter Bob Dylan’s career that is most unmarked by religion, namely his appearance with an electric guitar at the 1965 Newport Folk Festival. Dylan’s going electric became, through subsequent years of narrative attention, a secularizing event. “Secularizing event” is a phrase coined to capture how certain epochal moments become transforming symbols of divestment; here, a commitment writ into rock criticism as one in which rock emerged by giving up something that had been holding it back. Through a study of this 1965 moment, as well as the history of electrification that preceded it and its subsequent commentarial reception, the unreflective secular of rock criticism is exposed.
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Mitchell, Gillian A. M. "‘Mod Movement in Quality Street Clothes’: British Popular Music and Pantomime, 1955–75." New Theatre Quarterly 33, no. 3 (July 10, 2017): 254–76. http://dx.doi.org/10.1017/s0266464x17000306.

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From the late 1950s onwards, young rock ‘n’ roll musicians and popular singers were introduced into commercial Christmas pantomime productions. While this practice, which constituted an extension of their involvement in the broader sphere of variety theatre, has been previously noted, it is seldom accorded much sustained attention. In this article Gillian Mitchell explores the impact which such performers made upon pantomime, while observing the ways in which involvement in pantomime productions affected their careers and aspirations. ‘Pop stars’ brought much-needed revenue to struggling theatres, and, while their presence onstage alongside experienced pantomime performers sometimes attracted criticism, they also contributed in many ways to a reinvigoration of the medium, whether by offering fresh scope for topical gags, or by giving ambitious producers the chance to more more experimental types of production. The article also questions the notion that, by the late 1960s, pantomime had become a ‘last refuge’ for those popular musicians who were apparently unable to maintain a foothold in the increasingly ‘serious’ world of rock music. Gillian A.M. Mitchell is a Lecturer in Modern History at the University of St Andrews. This article forms part of a larger project which explores adult reactions to popular music and inter-generational relations in Britain from the 1950s to the 1970s.
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Dissertations / Theses on the topic "Popular music Africa History and criticism"

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Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.

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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
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Klopper, Annie Elizabeth. "Die opkoms van Afrikaanse rock en die literêre status van lirieke, met spesifieke verwysing na Fokofpolisiekar." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2201.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009.
The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.
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Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.

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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.

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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.

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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.

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Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.

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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ultimately the exegesis serves to problematize larger issues in scholarly work on popular music, particularly the dominance of the paradigms of rupture, rebellion, and authenticity in relation to the historiography and criticism of the formation known as "rock".
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Books on the topic "Popular music Africa History and criticism"

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Africa o-ye!: A celebration of African music. Enfield: 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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Chilvers, Garth. History of contemporary music of South Africa. Braamfontein, South Africa: Toga Pub., 1994.

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

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S, Moore, ed. African pop roots: The inside rhythms of Africa. London: W. Foulsham, 1985.

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Musicmakers of west Africa. Washington, DC: Three Continents Press, 1985.

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Retracing Kikuyu popular music. Nairobi, Kenya: Ketebul Music, 2010.

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

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Boccitto, Marco. Mother Africa e i suoi figli ribelli. Roma: Theoria, 1995.

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Hip hop Africa: New African music in a globalizing world. Bloomington: Indiana University Press, 2012.

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Book chapters on the topic "Popular music Africa History and criticism"

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Frith, Simon. "Writing about Popular Music." In The Cambridge History of Music Criticism, 502–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.027.

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Counsel, Graeme. "Sound archives in West Africa." In The Routledge Companion to Popular Music History and Heritage, 367–75. Routledge, 2018. http://dx.doi.org/10.4324/9781315299310-36.

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"Telling the Truth and Commenting Reality: “Harsh Criticism” in Guinea-Bissau’s Intervention Music." In The Routledge History of Social Protest in Popular Music, 349–63. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-33.

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"The Music’s Not All That Matters, After All: British Progressive Rock as Social Criticism." In The Routledge History of Social Protest in Popular Music, 141–59. Routledge, 2013. http://dx.doi.org/10.4324/9780203124888-18.

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Harold, Claudrena N. "Introduction." In When Sunday Comes, 1–16. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043574.003.0001.

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The introduction combines autobiographical reflection with cultural criticism to outline the book’s unique contribution to gospel music history. It recounts the major debates that consumed gospel music insiders as the genre assumed a larger place within mainstream popular culture: Were contemporary gospel artists who experimented with the rhythms of R&B and hip-hop more concerned with selling records than saving souls, and if so, was gospel music on the same path of decline as its secular sibling R&B, which some critics insisted had lost its soul? Did acts like Andraé Crouch, the Winans, and Kirk Franklin really depart from the gospel tradition? Or were they simply following in the steps of their predecessors who had also employed new sounds and technologies to fulfill their evangelical mission?
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Njoroge, Njoroge. "Conclusion." In Chocolate Surrealism. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496806895.003.0006.

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What is funky is history, what comes goes. —Amiri Baraka The popular musics of the circum-Caribbean present us with a rich mosaic of the expressions and experiences of the people of the African diaspora. The music articulates history, memory, myth, and contemporary reality; its feelingfulness derives from its ability to simultaneously re-present the past and the present, and through rootwork and polyrhythm, the continuous innovation of the tradition. The music remembers Africa in diaspora, and listening to black music informs us of the dialectics of history and cultural memory, as well as the interpenetrations of sound, sentiment, movement, and pleasure: the politics of participation. “Because participation models style, reinforces the feel of the groove, strengthens the naturalness of it, keeps it from the realm of abstraction and keeps it in practice” (...
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Appert, Catherine M. "Remembering the Griot." In In Hip Hop Time, 61–88. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190913489.003.0003.

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This chapter locates Senegalese hip hop at the intersection of local musical history, transatlantic Afrocentric dialogue, and the accelerated globalization of the 1980s. It traces the historical invention of the griot through colonialism, religious conversion, and postcolonial nationalist projects, while showing how griot instrumental and vocal performance practices provided a foundation for Senegal’s preeminent popular music, mbalax. It details how early international rappers, including Positive Black Soul (PBS) and Daara J, in line with a history of Afrocentric and pan-African projects in which they were well versed, traced an alternative history that routed the griot through diaspora and “back” to Africa, bypassing contemporary griot performance and mbalax in the process. It argues that this was not a literal claim to hip hop origins, but a strategic project of remembering that claimed diaspora as an alternative local history.
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