Relevant bibliographies by topics / Popular music – Tanzania

Academic literature on the topic 'Popular music – Tanzania'

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

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Journal articles on the topic "Popular music – Tanzania"

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Kerr, David. "'Maisha yetu ya kila siku kama vile movie': Fantasy, desire and urban space in Tanzanian music videos." Journal of African Cinemas 11, no. 3 (December 1, 2019): 225–40. http://dx.doi.org/10.1386/jac_00018_1.

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Abstract An explosion of creative practices in music, film and video production followed the liberalization of the Tanzanian media in the early 1990s. Concerned about cultural imperialism, Tanzania's first president Julius Nyerere had resisted allowing television in mainland Tanzania and consequently the first licence was only granted in 1994. Following the establishment of the first TV station there has been a proliferation of TV station and online platforms circulating the new genre of popular music videos. During the last decade, new media spaces, including continent-wide TV channels such as Channel O and MTV Africa (both based in South Africa), have created new circuits for the circulation of Tanzanian music videos. New media spaces enabled by liberalization have become sites for negotiating gendered, moral and sociopolitical value. They also serve as imaginative sites of desire and fantasy. Music videos set in the cinematic space of Dar es Salaam's new high-rise buildings and 'exclusive' clubs have become something of a trope in Tanzania. These videos display fantasies of enjoyment and consumption. In so doing, they reflect neo-liberal and individual modes of wealth accumulation which challenge accepted social norms about consumption and wealth. Examining these new contemporary cinematic representations of the city as spaces of fantasy and desire, this article will explore the modes of spectatorship audiences bring to these videos. It will examine how audiences, largely excluded from these exclusive city spaces of consumption and excess, read cityscapes in music videos. This article ultimately sets out the multiplicity, ambiguity and indeterminacy of the desires (both creative and destructive) evoked in audiences by contemporary music video.
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Hilhorst, Sean. "Remmy Ongala: Capitalist transition and popular music in Tanzania 1979–2002." Journal of African Cultural Studies 21, no. 2 (December 2009): 105–26. http://dx.doi.org/10.1080/13696810903259319.

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Sanga, Imani. "Composition Processes in Popular Church Music in Dar Es Salaam, Tanzania." Ethnomusicology Forum 15, no. 2 (November 2006): 247–71. http://dx.doi.org/10.1080/17411910600915406.

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Waters, Tony, and David Philhour. "Cross-National Attunement to Popular Songs across Time and Place: A Sociology of Popular Music in the United States, Germany, Thailand, and Tanzania." Social Sciences 8, no. 11 (November 5, 2019): 305. http://dx.doi.org/10.3390/socsci8110305.

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This paper explores empirically Edward T. Hall’s assertion about the role of musical elements, including rhythm recognition and what are called “ear worms” in popular culture. To test Hall’s assertion, data were collected from the United States, Germany, Tanzania, and Thailand in 2015–2017 using a 26 brief “song intros.” Data were also collected from exchange students from South Korea and Turkey. Survey responses were analyzed using factor analysis in order to identify patterns of recognition. It was found that there were indeed patterns of recognition apparently reflecting national boundaries for some song recognition, but others crossed boundaries. A separate analysis of patterned recognition comparing American youth under thirty, with elders over 60 indicated that there were also boundaries between age groups. Such experiments in music recognition are an effective methodology for Culture Studies given that musical elements are tied to issues of identity, culture, and even politics. Music recognition can be used to measure elements of such subconscious habitus.
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Webster-Kogen, Ilana. "Live from Dar es Salaam: Popular Music and Tanzania's Music Economy." Ethnomusicology Forum 22, no. 1 (April 2013): 111–13. http://dx.doi.org/10.1080/17411912.2012.721511.

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Gunderson, Frank. "Live from Dar es Salaam: Popular Music and Tanzania's Music Economy." Journal of the Musical Arts in Africa 11, no. 1 (January 2014): 133–35. http://dx.doi.org/10.2989/18121004.2014.997074.

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Remes, Pieter. "Global Popular Musics and Changing Awareness of Urban Tanzanian Youth." Yearbook for Traditional Music 31 (1999): 1. http://dx.doi.org/10.2307/767970.

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Bender, Wolfgang. "Perullo, Alex: Live from Dar es Salaam. Popular Music and Tanzania’s Music Economy." Anthropos 108, no. 1 (2013): 351–53. http://dx.doi.org/10.5771/0257-9774-2013-1-351.

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NTARANGWI, MWENDA. "Live in Dar es Salaam: Popular Music and Tanzania's Music Economy byAlex Perullo." American Ethnologist 40, no. 1 (February 2013): 233–34. http://dx.doi.org/10.1111/amet.12015_16.

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Sanga, Imani. "Live from Dar es Salaam: Popular Music and Tanzania’s Music Economy by Alex Perullo." African Studies Review 56, no. 1 (2013): 206–8. http://dx.doi.org/10.1353/arw.2013.0009.

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Dissertations / Theses on the topic "Popular music – Tanzania"

1

Sanga, Iman. "Muziki wa Injili : the temporal and spatial aesthetics of popular church music in Dar es Salaam, Tanzania (1980s-2005)." Thesis, 2006. http://hdl.handle.net/10413/5177.

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This study is concerned with popular church music in Dar es Salaam and with changes in this music in relation to the concepts of temporality and spatiality. In part one, I argue that temporal change is experienced by human beings in relation to events or "stamps". Using selected stamps in the history of Tanzania from the 1980s to 2005, I discuss, on the one hand, how temporal events shaped various aspects of the music and people's experiences of the music and, on the other hand, how the music influenced people's experiences of various events and temporal rhythms. Various processes in the making ofpopular church music and various people involved in the creation of this music are considered to serve as stamps that mark the metamorphosis of the music. Likewise, the structural organization of the music and various musical elements imprint musical works and give them their identities thus causing them to be associated with other works that are organized in more or less similar ways. In part two, I use the theory of spatial trialectics to examine how popular church music is related to religious, national and gendered spaces. First, I discuss how the use of this music in religious spaces and the changes that have taken place in aspects of the music have been controversial, and I argue that the changes in the music led to changes in people's inner experiences of Christian spirituality. Second, I point out that the practice of African nationalism in this music has been aiming at liberating the national mental space through the use of traditional music materials and by addressing various national issues. The dynamics in this space involve the interaction between local and global music aesthetics. Third, I discuss the prominence ofwomen musicians in popular church music in recent years and the way in which this prominence has increased the focus on women's issues in the music. A close reading of selected songs reveals that individuals' experiences of gender problems are shaped by gendered mental space, which is informed by religious and other cultural norms.
Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2006.
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Books on the topic "Popular music – Tanzania"

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Live from Dar es Salaam: Popular music and Tanzania's music economy. Bloomington: Indiana University Press, 2011.

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2

Perullo, Alex. Live from Dar Es Salaam: Popular Music and Tanzania's Music Economy. Indiana University Press, 2011.

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3

Gunderson, Frank D. Legacy of Tanzanian Musicians Muhidin Gurumo and Hassan Bitchuka: Rhumba Kiserebuka! Lexington Books/Fortress Academic, 2018.

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The Legacy of Tanzanian Musicians Muhidin Gurumo and Hassan Bitchuka: Rhumba Kiserebuka! Lexington Books, 2018.

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Book chapters on the topic "Popular music – Tanzania"

1

Sanga, Daines Nicodem. "Ngoma Songs as Tanzanian Youths’ Third Space for Political Participation." In Indigenous African Popular Music, Volume 2, 311–26. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-98705-3_18.

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"Popular music, identity and politics in a colonial urban space: The case of Mwanza, Tanzania (1945-1961)." In African Cities, 261–89. BRILL, 2009. http://dx.doi.org/10.1163/ej.9789004162648.i-308.78.

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"Kwayas, Kandas, Kiosks Tanzanian Popular Kwaya Music." In Performing Religion, 116–34. Brill | Rodopi, 2003. http://dx.doi.org/10.1163/9789004334328_008.

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