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AFRICA IN HE WORLD OF POPULAR KJSIC

Klevor

Trie title of this report was the thene of and investigate ways in which people the fourth bi-annual conference of the outside Africa can help foster African International Association for the Study of popular music in a creative and positive Popular Misic (IASPM), held in Accra, Ghana, manner."2 August 12-19th,1987. Previous conferences VHAT IS POPULAR KEK? were held in Amsterdam, the Netherlands {June 1961), Reggio Bnilia, Italy {September Professor J.H. foebena Nietia3 chaired the 1983), and Montreal, Canada, (July, 1985) first session of the conference which began Besides Ghana, Nigeria and Togo, conference with a continuation of IASPM's efforts at participants carte from Australia, Belgium, defining popular music. The Ansterdam Canada, Dermark, the German Democratic conference had opened with a confession: "We fepublic, the Federal Republic of Germany, begin ... under a severe handicap: we're not Italy, Japan, The Netherlands, Norway, sure what we're talking about" (Haim, 1982: Sweden and the United States of Arerica. 3).4 For the past quarter century or so, Other interested persons frcm Cuba, Egypt, various commentators have been attempting to Kianya, Tanzania and Uruguay could not attend define popular music without success (see due to financial and other difficulties. Jones and Rahn, 1981). The proceedings of IASPM's decision to hold the Fourth Inter- the feggio Bnilia Conference unoer the" theme national Conference on Popular Music Studies "What is Popular Mrsic?" made an impressive in Africa stamed frcm its 517 page volime (Horn, 1985) and included a "desire to develop maaningful relations paper drawing attention to tie opinion of with African popular musicians and scholars many writers who thought defining popular of music and to explore ways in which music was an exercise in futility. It IASPM could meaningfully enter Africa and suggested: African musicians and scholars of music "Perhaps the question, 'What is Popular can meaningfully enter IASPM ... This Music?1 is not an appropriate one to pose desire is motivated by the massive at the present time. Perhaps it would be influence Africa has exercised in the more appropriate to concentrate upon the world of popular music both in historical processes of studying nusic than on seme and in a contemporary sense. putative category of music whose existence It is the purpose of this conference to might only be established with great gain therefore a greater understanding of difficulty" (Shepherd, 1985). that influencing contribution; to gain a However tlje persistence of the attempts at greater understanding of the ways Africa defining popular music would seem to suggest has responded to and assimilated dominant notwithstanding the difficulty of achieving trends in popular music .... assess the precision, that we need seme working notions political and economic environment within about the subject of our study. which popular music in Africa operates, Scms define popular music in the negative: "rnusic that is neither folk nor art music" popuiar music in an urban setting presents (Tagg, 1979). For others, the term is the researcher with new questions and applicable to all those musics that are challenges that should help us understand intended for and/or censured Dy large masses better what we mean by popular music". On of people.5 the basis of Anlo-Ewe examples he advocated In the technologically advanced countries, "sociological and ethncmusicological irodem camnications, especially the elec- approaches that facilitate the identification tronic mass media constitute the central and explanation of the sccio-cultural para- pillar of popular music culture. In Western meters unique to popular music in urban Europe and North America, for example the settings." measurement of popularity in nusic is done In a paper Aidna's crowd: On the Character by the music industry in quantitative terms, of the Everyday Hsical Cultural of Rural by reference to phonogram sales records and Africa, the present writer advanced a notion the charts devised by institutions like of popular music as that kind of music which Billboard.6 These measures, in spite of is not contextual ly bound to strictly speci- their obvious utility, are inadequate even fied occasions and functions as is the case for Wastem Europe and North Arerica. They with ritual and ceremonial music. The types leave out of account all those musics that of nusic which, at least in theory, can be "...fail in the market place" (Cutler, performed anytime, anywhere, everyday: 1985:3); "... only a small amount of the genres of music that are most readily accessi- ble to large groups of people may be consi- music described (as popular) actually reaches dered popular music. masses of listeners" (Wicke, 1385:47).7 However special attention nust be paid to Besides, the overwhelming majority of the overall social and cultural ciranstances mankind does not measure popularity in music under which and the processes whereby a by these quantitative methods. By focussing musical genre may beefcme accessible to large on indigenous African music, the opening groups of listeners and acquire the status papers of the Accra Conference sought to of everyday popular music. contribute sore ideas 'which probably could Could popular music also be identified not have emerged f ran the study of other using structural-musical criteria? It is musics) that may aid the efforts at clarifying true that individual pieces within a parti- our notions about the parameters for deter- cular popular music genre exhibit certain mining popularity in nusic. similarities in their structural-musical In his paper Indigenous African Popular features. However individual pieces, or Misic: A dialectical approach Dr. Daniel fragnents thereof, from categories of non- Avorgbedor of the School of Performing Arts, popular music may 'beccme' popular if these Legon, compared empirically, indigenous and pieces function in ways associated with contemporary popular nusic. B5 noted diffe- popular music. A Bach, Beethoven or rences and similarities with regard to the Tchaikovsky fragnsrtt used in advertising or geographical location of performing groups, as a radio station signal becomes (I) popular their audiences and ethnic composition, music. paying attention to varying performance Conversely, what according to certain contexts, economic benefits accruing to criteria are very popular this week, the artistes, the role of the modem mass madia nunber ones in the charts, may not be so in publicising popular music events and in popular next week. (cf. Beaud, 1962). This the transmission of the various types of rns got very little to do with the particular popular music. Hs also drew attention to piece's structural-musical features. the factors that encourage innovation in Furthermore what originally may have been styles and the acculturation of popular folk or popular music may attain the status music forms. Ha observed that "indigenous of the classical when social and historical circumstances change. Tm conclusion defined its social context and form. therefore is that political, social and Tne presentation by Dr. Afolabi Alaja-Browne cultural factors are the most decisive in (Lagos university), Fran 'Ere e faaji ti o identifying popular music. pariwD1 to 'Ere e faaji alariwoi : a diachro- The most inportant thing however, as nic study of Change in Juju Mjsic outlined Professor Nletia pointed out by way of the emergence and development of juju music surmary, is to arrive at anorking definition, through the creative effort of young "rascals" a kind of label that allows us to pursue in the Saro (Sierra Leone) quarter of Lagos popular music research, not the search for in the 1930s. Prominent among these 'rascals' definitions as an end in itself. was Tinde King generally acknowledged today as the main originator of juju. The genre SOME AFRICAN PGRJUK MUSIC TYPES fH) GENRES developed through contributions frcm the Part of the difficulty in identifying and following sources: Christian hymns to which defining popular nusic arises frcm the scant the 'rascals' ware exposed during Christian attention that appears to have been paid to wake-keeping ceremonies; asito, the trans- the historical processes that account for ethnic form of musical expression whose the emergence and continuity of popularity origins and development were described by in music. This shortcoming was addressed by Fleming Harev; the use of tambourines intro- Fleming Harev's paper, The Origin of Urban duced by the Salvation Army missionary sect Popular Wjsic in fest and Central Africa. in the 1920s and believed to have the power Harev sought to establish long historical of stimulating mental and spiritual conscious- links, frcm the beginning of the nineteenth ness, hence juju; the Brazilian sante century, between different types of "trans- practised by the Lagos Brazilian ccrmuiity ethnic popular music in wast Africa". and orin kururo, sea shanties. These forms of music played on gouitoay, Having established a musical style, Tinde gcuite, or gome frame dnms ware, according King and his cohorts practised an Ere e to Harev, introduced by Jamaican maroons and faaji ti o pariwo, a light solemn entertain- gave birth to asito and maringa music in- ment music, mainly for the quiet exclusive fest and Central Africa. By the 1880s the delectation of the Lagos elite of the 1930s box guitar had arrived in fest Africa via in their homes, in the evenings. African sailors. Both the guitar and the performance styles developed around it, In the 1940s the artistes began to add new together with gurte, asito and narfnga ware musical instnnerts to the juju orchestra, in_ turn taken to Central Africa by West such as gangan, the Vjruba hourglass drun, Africans employed by the Belgian colonial the penny whistle flute, the organ and the authorities to build the Matadi-Leopoldville widndll > (kinshasa) railway. Frcm the middle of the 1940s, under the B e inpetus of the political and social activi- ^- ^ttj Casely Hayford's presentation ties leading to Nigeria's attainment of ^ S? ?$??? * WghHfe gave an account independence, juju music broke out into the of the contributions of pre-colcnial European public as Ere e faaji alari», urban dance traders, missionaries and British Colonials and party music. The leading artiste during to the emergence of the wast African form of this period was I.K. Dairo who introduced popular music. The recruitment of Africans the north organ and accordion into the juju to serve as musicians in various European orchestra and led a movement that resulted military and missionary institutions began a in the appeal of juju music outside Lagos, process whereby indigenous arid European in other parts of Yorubaland and beyond. I"8 uKlSi?* Q^stalized into what has During the Nigerian civil war (1967-70) becqne Hi^Tlife. The told Coast on accourt Highlife musicians moved out of Lagos, °f 9f°-Political position, beams the .place vtere the music first anemed and leaving the popular music terrain to the dominance of juju. The Nigerian oil boon 50 (1970-1960) created the conditions for juju of an all-male juju band managed by her to beccme big business, its practitioners husDana. Mary Mono led a seven-member overtly publicising the "virtues" of rich, all-female band specialising in highlife, powerful aid influential patrons through juju, ball rccm music and Congolese cha-cha- praise songs. The music began to receive cha. extensive coverage in both the print and Later female artists like Nellie Uchendu, electronic mass media. Chief Ccmnander Stella Moye, Nbna Fini, Dora Efudu, Christy Ebenezer Obey and King Sunny Ade have emerged Essien-Igbckue, Onyeka Oweno and Patti as the best known juju musicians at the Boulaye and other female artistes all with present mcment. varying levels of formal educational training The presentations on these genres of emerged in the 1970s and 80s specialising in indigenous and contemporary African popular newer genres of axitemporary Nigerian popular music, from historical perspectives, were a music. Some of those educated abroad started welcome addition to the scholarship so far their musical careers performing the works produced within the ranks of IASPM. of foreign, especially Black Anerican artistes like Donna Suimer. WO©! AND POPULAR MUSIC In general these females artistes have An avowedly non-ferminist presentation by been exploited by promoters and producers Dr. Mosun Cmibiyi-Cbidike (University of and their purpose as performing artistes has Ibadan), Women w Popular Music in Nigeria misrepresented, outlined the contribution of wcmen to contem- HDwever their hard work, "brought a little porary popular nusic in that country. class into the Nigerian music scene. This Until the late 1960s, the contemporary essentially has contributed to a change in popular music scene in Nigeria was dominated attitude on the part of the general public by men. In the 1970s, many more women from looking at them as morally debased entered the field. ihjfs, according to people to repositories of the African heri- Grabiyi-Cbidike, was probably due to changing tage, carmunicators, entertainers, innovators attitudes towards woman's traditional roles and fosterers of national identity and in music* unity". Besides the explicitly female forms of There was no other presentation on women musical activity, women traditionally played and popular music. But John Collins1 inter- minor roles in musical life in general. vention drew parallels with the situation of Even in female types of music, man usually women in popular music in Ghana and the provided instrumental accompaniment. With United States. changing social attitudes, occasioned espe- Female participation in contenporary cially by the growth in formal education, it professional music-making in Ghana had been has become possible for women to play more very limited until very recently. In the prominent roles in musical life. recent years of economic decline in Ghana The rise of individual performing artistes musicians began to be employed to perform and super stars abroad in the 1970s as for worship in the Africanized Christian against the earlier emphasis on the group Churches, just as Black Arerican churches identity of bands, must also have had its attracted musicians during and after the effects on the Nigerian music scene. depression of the 1930s. This has led to Performances of visiting foreign female the emergence of Ghanaian gospel music. singers like Millicent Small and Miriam According to Collins, the guitar in Ghana Makeba inspired a nuiter of Nigerian artistes, had been associated with drunkenness and some of whom performed with the visitors nobody wanted their daughter to become a when they went to Nigeria. Sherry-Patu professional musician. But it was more Oduguwa, alias Queen Decency, a composer, difficult to maintain this association with lead guitarist and singer became the leader church music, and young woman became choris- ters and renters of gospel bands. In the absence of adequate inspiration, Gospel music in the United States developed Highlife musicians are reduced to "mere into Soul- Collins, a phonogram producer, outlets for the expression of dissatisfaction with existing conditions by survival". AFRICW PGRJLM PERFORMING ARTS: COPYRIGHT, And the dissatisfaction with these condi- POLITICS, l/mifiGE MO ROLE IN EDUCATION tions, among other things, have according to Dr. foesi Yankah (Department of Linguistics, A nnter of conference sessions were Legon) been expressed through a variety of devoted to a discussion of African popular linguistic registers: Standard, Pidgin and arts within the context of the ccnplex Broken English, a mixture of English and duality of the indigenous and the contaiporary Ghanaian language colloquialisms and that the continent, on account of its history, indigenous languages, "depending on the continues to experience. The Ghana Dance particular variety of highlife ensemble, the Ensemble's Artistic Director, Francis Nii social context of the music being played as Yartey made an inpassioned plea in his wall as how close the composer is in touch paper, Creation and Presentation of Tradi- with the cultural traditions and aesthetics tional African Danqes, that the totality of of traditional ccnmunication". the continent's historical experience and The relevance of all these to the acquisi- cultural diversity be reflected in contem- tion and dissemination of knowledge engaged porary African dances. the attention of two panels which discussed Whilst not specifically about a popular the place of popular music in formal and performing art, t)fotsu Adinku of the School non-formal education. The strategic impor- of Performing Arts, Legon, produced a paper tance of popular music, on account of its on Copyright Protection for the Ghanaian ubiquity, as a vehicle for early childhood Choreographer in which he raised pertinent instruction and as an instnment for socia- questions, that constituted^a timely inter- lisation at various levels was noted. vention on behalf of practitioners of the Panelists drew attention to the inclusion of dance: the urgent need for the protection of 1 aspects of popular nusic in the west African choreographers intellectual property. Examinations Council's 'Ordinary' and Adinku also discussed the forms and methods 'Advanced' level syllabuses and also in the whereby choreographed works may be lodged curriculun of sore third cycle music insti- with the copyright administrator, tutions. concluded hunorously: "So what I am waiting Dr. K.N. Bame (Institute of African Studies for in my' recording studio is the Ghanaian Legon) presented an account of Papular Music Aretha Franklin". in the Concert Party Tradition and a report Dr. Kofi Agovi, (Institute of African- on the use of the Concert Party in a 1975 Studies, Legon) spoke about The Political birth control campaign programe. Dr. Relevance of Highlife Songs since 1957. On Reebee Garofalo (Boston university, USA) the basis of a review of the ways in which described the use of popular music in the political events and concerns are reflected rehabilitation of delinquent youth in Sweden in Highlife songs he pointed out the validity and the United States. Two University of of these songs as a 'means of assessing the Ghana professors, Professors K.A. Dickson and A.A. Mensah led discussions on the relevance of a regime's political goals, attempts of contemporary Ghanaian gospel policies and programes to the lives of the musicians to ccme to terms with Christian intended beneficiaries". By recounting the theology. ups and downs of Highlife as an art form Dr. Bane's report indicated that besides during the Nknmah era, Agovi concluded that the radio, the concert party proved to be it is the business of government to inspire the most powerful means of successfully not impose the "values of state" they profess. comnicating information, even on a subject 52 as delicate as family planning whilst Dr. stereotypes about Africans and their music. Garofalo's presentation demonstrated the These stereotypes, according to Senmitts's effectiveness of the use of popular music in paper "Hot, Hotter Africa": Stereotypes in reorienting "wayward" youth back into the (re)presentation of African pop music in productive channels. German and European media,) make it almost The -tentative nature of the discussion on impossible for African popular music practi- the relationship betwen Christian doctrine tioners, perhaps with the exception of Youssou and gospel nusic inplied a need for further N'dour, Manu Dibango, Hugh Masekela and Sumy investigation on the supject. Tt was however Ade, to achieve any great successes on the pointed out that the rise of .Ghanaian gospel European popular music circuit. music is a social fact that cannot be ignored. WORKSHOPS AFRICA AM) POPULAR MJSIC ABROAD There were two workshop sessions devoted to historical, sccio-cultural, and musicolo- Other conference presentations dealt with gical analyses of Yaa Anponsah, a very popular music culture in cither parts of the important piece of Ghanaian popular music, world (Asia, Europe, Latin America, North and Hie Graphics and the Packaging of Popular /Serica and Oceania) focussing among other Music. things on the character and content of the It cane to light during Mr. Beattie Casely- relationship between popular music in these Hayford's historical and sccio-cultural geo-political areas and their socio-econcmic presentation on Yaa Anponsah that Yaa Anpon- and politico-cultural settings on the one sah was a person who actually lived. She hand and the technology and business manage- was such an excellent performer that anytime rrent arrangements that facilitate or hinder she was absent, the group she belonged to their production and propagation on the found it very difficult to perform. It was other hand. to acknowledge her performance excellence Special attention was paid to the place of that Asante Kwapong composed Yaa Anponsa, African music in the origins and development which was later popularised by ft&me Asare, of present day popular music cultures in the famous guitarist 'Sam1, in her honour other parts of the world, especially in and memory. North America and Europe. Rojo Mettle-Nunoo, Laud Nikoi O'lai and Of particular interest were the presen- Gyedu Blay Arbcoley's presentations on the tations made by Dr. Philip Tagg (Gothenburg grannies of popular music packaging drew University, Sweden) and Roland Schratt, a attention to the need for popular music German radio journalist. Dr. Tagg's paper practitioners, especially phonogram producers Celtic and West African influences in the to match the sound and the image to the Popular Music of North America concerned sccio-cultural identity of the artistes and itself with pointing out that many musical their art. traits in North Anerica popular music, such as "Blue notes", call and response, improvi- POPULAR MJSIC AM) CCM-UUCATIONS THHCLOGY sation and syncopation which are carnally believed to be African in origin can be also A pertinent issue that cropped up during a found in indigenous Celtic and other European visit the Ghana Film Industry Corporation's musics. These musical traits had been spumed (GFIC) sound recording studio was whether by the late nineteenth century bourgeois the Third world can expect to have analogue elitist conceptions of European -music recording equipment as free gifts when they traditions. me real reason why these become obsolete with the advent of digital traits have been projected by the European recording technology in the West. Unfortu- music establishnfent as typically African is nately, digital sound recording and reproduc- to reinforce seme of the prejudices and tion technology is still so very expensive 53 that mast European recording studios and by the South African regime for its own ccnpanies are still hanging on to their purposes), astute anti-apartheid activists analogue equipment. like Hugg h Masekela and Miriaiiam MakebMaebaa were However digitally recorded music continues ablabl e t o organisi e thth e use off tthh e same rrusic to attain increasing prominence on the to hit back at the South African regregimi e Japanese, European and North Aierican popular This they did through their participation in music market. The quality of digitally a Paul Simon live concert in Zimbabwe yfiich recorded music is so high that digital was watched by the then Prime Minister Mr copies are actually clones of the original Robert Mugabe and other important government recording. This had led to some difficulties ministers and state officials. This concert, in protecting the copyright of recording according to several reports, was charged artistes. with anti-apartheid fervour, very raxln The phonogram industry has proposed the unlike the original Paul Simon phonogram- introduction of copy code notch device into beautiful music that was nonetheless compiel all digital audio tape equipment in the hope tely oblivious to the political situation of of eliminating all illegal copying. But the the African musicians with whom Paul Simon system proposed can be easily oypassed. performed and recorded. Stan Rijven, a Besides, the proposed copy code notch dete- Dutch journalist, did a provocative analysis riorates the quality of recording. A resolu- of various popular music events outside tion was passed strongly neccnrnending the South Africa, especially in North America non-passage of copy code legislation (See and Europe, intended as contributions to the Appendix). struggle against apartheid. In the discu- ssion, it emerged that quite often the SOUTH AFRICA personal ambitions of some performing artists The session on the role of popular music tended to undermine their anti-apartheid in the struggle against apartheid brought posture. into sharp focus the difficulties encountered It was pointed out that the struggle in the use of the performing arts in the against apartheid involved both a boycott of efforts to bring official racism to an end the South African regime and its programmes in South /frica. This is particularly so as well as an active exposure of the effects after the publication-of Paul Simon's award of its racist policies. Contributions in winning phonogram, Qnaceland, which was this regard can be made by non-South African recorded in South Rrica in contravention of anti-apartheid activists working inside the the United Nations' and the African National racist republic, as two IASPM members vix> Congress' policies seeking to foster cultural have carried out research within South boycott of apartheid by calling on foreign Africa have done. Thus a generalized call artistes to stay away from South Africa and on all foreign cultural workers not to visit cultural events sponsored by the South South Africa at all may not be in the best African regime. interest of the world wide struggle against The presention of Dr. David Coplan (State the evils of apartheid. The African National University of New York at Westbury, USA) on Congress, it would appear, is beginning to the subject made a strong case for anti- realize this. apartheid activists reconsidering their A resolution on Popular Music and the cultural policies. For at the same time as anti-apartheid struggle, reproduced in the Simon's South African adventune(?) was appendix to this report, was passed by the condemned in many anti-apartheid circles, conference. "P* only was it successful in bringing, through the mass media, aspects of South IASPM HCPOVUR MUSIC African popular music to the notice of a It has becane customary for IASPM, which very iarge audience world wide (and was used has prided itself on being an international, interdisciplinary, inter-professional and in Africa for scma to be engaged solely in activist organisation, to review its work at popular music studies. The few available its meetings with a view to clarifying its specialists spend most of their energies objectives so as to be able to decide on docuuenting and analysing different forms of concrete projects for the realisation of indigenous African music. these objectives. But a fairly representative sample of The Ansterdam conference which was contemporary African popular music is already strictly speaking not a IASPM conference, available on phonograms and can be studied led to the founding of the association. At later. the Raggio Bnilia Confenence attention was It would appear that contemporary African drawn to the essentially Euro-Anerican popular music is not looked down upon by character of IASPM's internationalism, its today's African ruling classes because it is lack of resources and the inevitability of the only form of music they can really its having to carry out projects within the identify with. The rise of today's African frameworx of other existing institutions, ruling classes was contarporaneous with the building up doanentary and bibliographic emergence and development of contemporary sources for popular music studies. African popular nusic. Besides, having been In his Address on the State of the Asso- brought up half way between bourgeois European ciation, Dr. Philip Tagg, IASPM's Founding and indigenous African traditions, these Executive Secretary noted the organization's classes have not developed any musical continued existence as a kind of "NATO of traditions that are distinctly theirs, the Popular Music Studies", the possible dangers way European classical music is essentially of careerism, and the association's likely a symbol of the EuroDean bourgeoisie. co-optation by the music establishment. It was not exactly clear to the writer of This was at the 1985 Montreal conference. the paper why popular music studies in The continuing growth of popular music Europe ana North Anerica started so late. studies, he noted, is bound to affect music Why too is it that the the music industry's studies in general in the same way as women high level research into popular music cul- studies, hitherto another terra incognita ture is not matched by correspondingly large like popular music studies, continues to research efforts for distanced and critical contribute to a clearer understanding of perspectives of the kind favoured by IASPM? mankind and society. Similarly, IASPM must There is a need to have these issues clari- also seek to become a kind of African National fied so IASPM can see its way clear. Congress (ANC), promoting, ultimately the It was also suggested that IASPM define study of all musics, just as the ANC is its attitude to the information provided dedicated to a struggle for the equality of through research done by its members, so as all races in South Africa and indeed in the to devise projects through which the asso- whole world. ciation could consciously and positively On the basis of a paper produced by the effect the obiect of its study and activity. present writer, IASPM and Popular Music: Thus the association could grow out of its Towards an Agenda, the Accra conference present 'stifling scholastic cloister' and continued IASPM's search for clearer perspec- participate in preparing the grounds for the tives on its work. The paper pointed out "popularisation of all musical traditions that just as in Europe and North Anerica, and the withering away of popular music". popular music studies in Ghana is in its John Shepherd, referring to himself as1 infancy, but for different reasons. belonging to a 'stifling scholastic cloister , Even though African popular music is not on account of his being a full professor looked down upon in Africa as mere fun, with with tenure in a music department, also leisure and entertainment as is the case in put forward some ideas, in response as Europe, there are not enough music researchers discussant for the session which was chaired 55 by Philip Tagg. research into popular music culture on the According to Shepherd, the lowly position other hand is totally self serving, f^ of popular music studies in the so-called purposes of maximising profits, ^d advanced civilizations derives fran the fact re-infonces the dominant ideology in these that the significance of music as a means of societies. social and cultural caminication is gene- It is to reverse this state of affairs rally ignored and not considered as important that Professor Shepherd and other IASFN for social existence by these civilizations. scholar activists and activist scholars This lack of recognition for the role of engagje in popular nusic studies and support music in society has arisen with the advent the idea of popular music activism. of literacy (writing and subsequently, But activism *hich is not based on m printing), one of the principal tools of informed theoretical understanding of the social control in the so-called developed nature of Wiat is to be changed can be civilizations dominated by powerful male dangerous. At best the activists' projects elites. can be undermined or subverted even without Misic, as an oral/aural phenomenon, goes their knowing. A nutter of supposed revolu- behind the back of literacy and through its tions in music education have fallen into very existence subverts fundamentally the this category of subverted activism because means of ccrrmunication in literate societies. they were not preceded by a full evaluation Confucius, Plato and Saint Augustine have of the cultural and social significance of mge pronouncements about the detrimental the musics that are taught in the classroom. effects that music may have upon the moral There also are problems with sane activist and social order of their civilizations. projects IASPM has, through seme of its Classical music does not pose a threat to nerters, been associated with such as Rack these civilizations because it is controlled Against Racism. Practically all such activism ™xjgh the scribal form. S}frphonies, tends to be directed mainly at the context concertos etc. could not be conceived and of music, without much attention being paid reproduced in a fully oral/aural fashion. y are to the text of the nusic itself. r"J .. , first and forarost constructed notational ly on paper and have become subser- In rock nusic, one finds that the typical vient to the exigencies of scribal elites. gender stereotypes and gender relations are TOpular music on the other hand is conceived reproduced. Rock Against Racism dees not ^practised in an oral/aural fashion. seem to address itself to the problem of «en writing and music notation are used in stereotyping. And this is not good enough PpP"lar music they serve only as aides since sexism is as detestable as racism. H?^50 PWter "^ic can therefore A nuiber of view points emerged in the r*2P°lled by scribal elites ttra* discussion: notation. i) IASPM's business is to provide informa- of the means hereby the elites of tion on popular music, not to transform fJJ developepedd civilizations seek to popular nusic culture. ™ol.popularnusiuli c thereforthf e is to try to ii) IASPM's research activities are bound JfJ® it inconsequentiaonsequential by relegating it, to affect popular music culture as ?£*&& declaratiodeclarationn , tt o tthhe limtl o of mere musicians, journalists, radio disc leisure and entertainment, jockeys etc. use the results of popular zationl? because ^ 'developed civili- >rry abcut music research in their work, ^£ - *** ^e^ive potential iii) IASPM's research provides infemation ar nusic that they make it difficult that is non-aligned, so to speak. Such information can be used by different social groups for different purposes with effects that may be at variance 56 with IASPM's aims and objectives. The regulating the conditions under which music association must therefore pursue researchers may enter Ghana for the purposes activist projects aimed at preventing of documenting and recording Ghanaian music, this. the conditions under which performing groups Eventually there appeared to be unanimity may enter Ghana from abroad as well as the on the need for activism, hence the kind of conditions under which musicians may leave recctimendations that came up at the end of Ghana to perform abroad with a real sense of the conference. Indeed IASPM's decision to security". corns to Ghana, despite all the odds, was an IASPM also undertook "to examine ways in expression of activism and a different kind which the invaluable docunentary and aesthetic of internationalism! treasure of African music recorded on reel-to- PR/CTICAL ISSUES reel tapes and presently stored at the University of Ghana's Institute of African At the conference closing session a number Studies music archives can be saved for of recaimendations aimed at improving the posterity". situation of popular music were made. These In order to clarify the association's include the establishment in Ghana of a objectives, and improve the quality of its popular music archive, a national bi-annual work, three amendments to the IASPM statutes conference and festival of popular music, were made. The first amendment has resulted music studios and recording facilities, an in the redefinition of the association as "a Accra Music Centre for part-time music non-profit organisation with no formal courses and tuition in the playing of musical political ties". The second states that instrunents. IASPM "condemns the violation of the human IASPM and the conference also conveyed rights, as defined by the United Nations their ccmnitment to "a constructive and Charter, of any individual, group or nation". positive development of popular music in The last amencment made possible the election Ghana, in Africa and throughout the world". of Professor J.H. toebena Nketia, Kco Nimo The intention of IASPM, its branches and and John Collins as honorary life members of individual matters to take various actions IASPM "in recognition of (their) service to airred at tackling seme of the problems of the world of popular music and to the Asso- music and music life in Ghana was also ciation". announced. Such actions include cultural, The conference attempted to achieve a academic and musical exchanges with Ghana; balance between the presentation of formal provision of information on music recording, scholarly papers by academics and the less studio technology, its developments, prices, formal interventions of practising musicians durability and functions to those working in like Kco Nimo, Qyedu Blay Arbooley and Nana the Ghanaian music recording industry; Agyeman (Geeman), graphic artists, journa- information on the music industry at the lists, radio disc jockeys, and other popular request of the Musicians' Union of Ghana; music enthusiasts. the provision of phonograms of music from The roles played by Professors J.H. Kwabena other African countries and of Ghanaian Nketia and A.A. Msnsah in presiding over music produced and distributed abroad for many conference sessions and orienting the the Ghana Broadcasting Corporation. In order to avoid the undue exploitation discussion on several subjects helped IASPM of Ghanaian nusic and musicians (this was an achieve this balance to a large extent. issue that arose very sharply within the Proceedings of the conference are being context of the conference session on the edited for publication both in print and as music business and industry), IASPM undertook a phonogram on audio cassettes. "to prepare a formal agreement with the The Fifth Conference is scheduled for government of Ghana containing treasures 1989. It will be held in Paris as part of 57 r

the activities marking the bicentenary of grans. A lot of scepticism has a^s the French Revolution. been expressed in the capitalist world about value of the charts as a true measure of popularity in music. ($e MOTES Hamnr, op. cit.). 9. The performance of the Akan adova, for 1. Served as chairperson of the Inter- example was until recently done only national Programme Co«»ittee; Convenor, once a year, in certain areas, Local Arrangements Cowittee and Central reserved for the entertainment of parti- Co-ordinator for the Fourth IASPM Confe- cular royal households. (See Nketia rence. 1973: 88) It has however become 2. FroM Statement on Purpose of Conference accessible to a larger public. Nketia •ade by IASPM Executive Secretary Profe- (fl96Z: 17 and 1963: 69) includes the ssor John Shepherd, Carleton University, adeva genre under his category of popular Ottawa, Canada. Professor Shepherd has The Southern Ewe agbadza was also served as IASPM Executive Secretary for originally performed for military pur_ two terns: 1983-85 and 1985-87. poses or during the funerals of those 3. Formerly Director, Institute of African who died in battle or in accidents. Studies, University of Ghana, Legon. But it has since the last thirty or so Presently Andrew Mellon Professor of years become everyday music performed Music and Chair, Department of Music, by voluntary associations. University of Pittsburgh, USA. Similarly the work of the Ghana Dance k. Professor Charles Ham, Department of Cnsemble and the rise of the so-called Music, Dartmouth College, Hanover USA Cultural Troupes in Accra and other big was IASPM's founding chairperson, a urban areas have occasioned the perfor- position- to which he was' re-elected mance of previously restricted musical during the 198? conference. types like Kete, Foatoaf rota and Alcoa in 5. This does not necessarily mean that the situations and venues associated with most consumed music is Host expressive popular music. of the people's objective needs and 10. Certain other forms of music like jazz aspirations. Actually a sizeable chunk were in their origins considered folk of popular music does contribute much music but have become popular or art to the fulfilment of the needs and music when they became available to aspirations of the people. large audiences or received esoteric 6. The International Music-Record-Tape treatment in the hands of certain coapo- Nevsvetkly (Los Angeles: Billboard sers and performers. Mop jazz Musi- Publications, 189^-present). cians insisted that their art was of 7. The commercial success of certain popular the same status as art music. Soae music practitioners »«d their Merchan- scholars (See Van der Plas: 1985: 3) dize is often more a function of their consider that rock music can be art business management and public relations music. expertise than their msicianship. 8. There nave been only unsuccessful attempts to introduce tn« charts in the IEFEIEMCES Third World and the Socialist World, Beaud, Paul, 1982. Et si l'on reparlait where some of the most consumed pieces d'Adorno, in Horn and Tagg (ed.) Popalar of popular music, like A.B. Crentsil's Katie Perspective*. Moses, are not allowed air time. This Cutler, Chris, 1985. What is popular music? is not to talk about those popular in Horn, David (ed.) Pepelar Hasie Pers- musics that are not available on phono- pectives 2. 58 Hamm, Charles, 1982. 'Some thoughts on the Accra: Longmans. measurement of popularity in Music' in 1963- Drwaing in Akan Coeau- Horn and Tagg (eds.) Popular Music Pers- nities of Ghana, London: Thomas Nelson. pectives. 1973: Folk Songs of Chant, Horn, David and Philip Tagg (eds.) 1982. Accra: Ghana Universities Press. Popular Hasie Perspectives: Papers from Van der Plas, Vim 1985. Can Rock be Art? the First International Conference oa in Horn, D. Ed. Popular Music Perspectives Popular Music Research, Aasterdaa, Jane 2. 1981, IA5PH, Goteborg ami Exeter. Shepherd, John 1985. Definition as Mystifi- Horn, Darttf ed. 1585. Popular Music Perspec- cation: a consideration of labels as a tives 2: Papers froa the Second Inter- hindrance to understanding significance national Coafereace oa Popalar Masic in Music, in Horn, D. ed. Popalar Music Studies, Reggio Eadlia September 19-2*, Perspectives 2. 1983, IASPH, Goteborg, Exeter, Ottawa, Tagg, Philip 1979. Kojak: 50 Seconds of Reggio Eailia. Television on Nasic, Goteborg: Musikve- Jones, G. and J. Rahn 1981. Definitions of tenskapliga Institutionen. popular ausic: recycled, in Battock, G. Wicke, Peter 1985. Popularity in music: ed. Breaking the Sound Barrier, New SOMB aspects of a historical Materialist York. theory for popular Music, in Horn, D. ed. Nketia, J.H., 1962. African Music ia Ghana, Popular Music Perspectives 2.

APPENDICES I copy code legislation be introduced. RESOLUTION OH THE BffflTJDUCTIGN CF COPY CODE DEVICES INTO DIGITS ADIO WE EQUJBBir With the introduction of copy code devices II into digital audio tape equipment, the phonogram industry hopes to eliminate the RESOLUTION ON POPULAR HJSIC IN THE home taping and piracy of compact discs. In STRUGGLE doing so not only does the industry impede Whereas popular music is a vital cultural the general progress of audio hardware; they resource in the struggle for freedom in are also in practice proposing a deterio- South Africa, and whereas cultural workers ration of sound quality by introducing a are developing an effective culture of frequency notch in all compact discs. resistance to apartheid within South Africa. Moreover since the copy code notch will be Be it herewith resolved that the Inter- extremely sinple to bypass at negligible national Association for the Study of Popular expense to the consumer, the only result Music pursue all practical avenues to aid will be to increase the cost and lower the the cultural struggle in South Africa through quality of both digital audio tape equipment the promotion of popular music and to isolate and compact discs. and combat the political and cultural repre- While wa fully support the right of ssion practised by the South African regime. authors, composers, musicians and workers in These avenues should include the collabo- the recording and phonogram industry, we see ration of cultural workers and institutions no way in which copy code will help them. throughout Africa as well as other continents We therefore strongly reccmrend that no in the struggle against apartheid.

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