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Projects Submitted to the 62Nd IPDC Bureau Meeting
Projects submitted to the 62nd IPDC Bureau Meeting Amount requested Budget approved Budget approved NO. Region Implementing Office Country Title / Titre IPDC Priority Bureau Decision from IPDC without PSC with PSC of 7% Strenghtening Kakaki community radio for improved 1 AFRICA ABUJA Nigeria service delivery and enhanced community Supporting media pluralism and independence $ 20,070.00 $ 20,320.00 $ 21,742.40 Approved participation Promoting Media Development and Safety of 2 AFRICA ACCRA Regional Promoting Safety of Journalists $ 34,500.00 $ 23,000.00 $ 24,610.00 Approved Journalists in West Africa Building journalism educators´capacity of Jimma Capacity building for media professionals, including 3 AFRICA ADDIS ABABA Ethiopia $ 16,749.00 $ - $ - Not Approved University through audio visual skill training improving journalism education Renforcement des capacités de la radio citoyenne des 4 AFRICA BRAZZAVILLE Congo Supporting media pluralism and independence $ 20,690.00 $ 18,000.00 $ 19,260.00 Approved jeunes pour la promotion des valeurs citoyennes Not approved (To be Renforcement de capacités et de moyens du Réseau Capacity building for media professionals, including resubmitted next year 5 AFRICA DAKAR Regional des radios en Afrique de l´Ouest pour $ 19,500.00 $ - $ - improving journalism education with an improved l´environnement proposal) Countering hate speech, promoting conflict- Projet de renforcement des capacités des femmes 6 AFRICA DAKAR Burkina Faso sensitive journalism or promoting cross- $ 20,000.00 $ - $ - Not Approved animatrices -
1 Chapter Three Historical
University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres. -
An Appraisal of the Evolution of Western Art Music in Nigeria
Graduate Theses, Dissertations, and Problem Reports 2020 An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Onyinye Holland WVU, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Africana Studies Commons, African Languages and Societies Commons, Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, and the Music Pedagogy Commons Recommended Citation Holland, Agatha Onyinye, "An Appraisal of the Evolution of Western Art Music in Nigeria" (2020). Graduate Theses, Dissertations, and Problem Reports. 7917. https://researchrepository.wvu.edu/etd/7917 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An Appraisal of the Evolution of Western Art Music in Nigeria Agatha Holland Research Document submitted to the College of Creative Arts at West Virginia University -
African Music Vol 6 No 3(Seb)
16 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC NOTES ON MUSICAL INSTRUMENTS AMONG THE FULANI OF DIAMARE (NORTH CAMEROON) by VEIT ERLMANN I. Introduction The Central Sudan, enclosing the northern parts of the Cameroons and Nigeria, South-Niger and parte of Chad, has been viewed by different scholars under various aspects as one coherent area sharing certain cultural traits. Some of these are due to the impact of Islam during the past 500 years: town-culture, feudal social hierarchy, class distinctions, and literacy. The impact of Islam is strongest among the Hausa, Fulani1, Kanembu, Kanuri, Manga, Kotoko, and Shoa Arabs. For more than five centuries there has been a constant flow of economic, social and cultural exchange between these groups which also left its traces in the musical culture. Ethnomusicology does not seem to have focused very much on this area2, the Hausa being in fact the only ethnic group whose musical culture can be said to have been thoroughly explored3. Kanuri, Manga, and Shoa music are almost unknown, while the musical cultures of the Kanembu and Kotoko received at least some attention in few articles and casual record notes4. As for the Fulani of Cameroon some records exist 5, but no written information on their music is available. Hence, this paper attempts to give a general account of the musical organology of the Fulani in North Cameroon and to contribute to the completion of ethnomusicological knowledge in this area6 through the presentation of new material and the basic facts of Fulani organology (names of instruments and their parts, social usage, history). -
ECFG Chad 2021 Ed1r.Pdf
About this Guide This guide is designed to prepare you to deploy to culturally complex environments and achieve mission objectives. The fundamental information contained within will help you understand the decisive cultural dimension of your assigned location and gain skills necessary for success (Photo: US Army flag officer tours Chadian hospital with the facility commander). The guide consists of 2 parts: ECFG Part 1 introduces “Culture General,” the foundational knowledge you need to operate effectively in any global environment. Part 2 presents “Culture Specific” Chad, focusing on unique C cultural features of Chadian society had and is designed to complement other pre-deployment training. It applies culture-general concepts to help increase your knowledge of your assigned deployment location (Photo: Traditionally, Chadian girls start covering their heads at a young age, courtesy of CultureGrams, ProQuest). For further information, visit the Air Force Culture and Language Center (AFCLC) website at www.airuniversity.af.edu/AFCLC/ or contact AFCLC’s Region Team at [email protected]. Disclaimer: All text is the property of the AFCLC and may not be modified by a change in title, content, or labeling. It may be reproduced in its current format with the expressed permission of the AFCLC. All photography is provided as a courtesy of the US government, Wikimedia, and other sources as indicated. GENERAL CULTURE CULTURE PART 1 – CULTURE GENERAL What is Culture? Fundamental to all aspects of human existence, culture shapes the way humans view life and functions as a tool we use to adapt to our social and physical environments. A culture is the sum of all of the beliefs, values, behaviors, and symbols that have meaning for a society. -
The Lunsi Traditional Music of the Frafras in Tamso
University of Ghana http://ugspace.ug.edu.gh THE LUNSI TRADITIONAL MUSIC OF THE FRAFRAS IN TAMSO BY EVANS OPPONG (10363983) THIS THESIS IS SUBMITTED TO THE UNIVERSITY OF GHANA, LEGON IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF MASTER OF PHILOSOPHY MUSIC DEGREE JULY 2013 University of Ghana http://ugspace.ug.edu.gh DECLARATION This is to certify that this thesis is the result of research undertaken by Evans Oppong towards the award of the Master of Philosophy in the department of music, University of Ghana. Signed ……………………………………………………………… Evans Oppong (Student) Supervisors 1. ……………………………………………..………………… Mr. Ken Kafui 2. ………………………………………………………………… Prof. John Collins i University of Ghana http://ugspace.ug.edu.gh DEDICATION I hereby dedicate this work to Mrs. Scholastica Mensah of Westlink Pharmacy, Tarkwa; who has been a backbone financially and spiritually to me. ii University of Ghana http://ugspace.ug.edu.gh ACKNOWLEDGEMENTS He who is appreciative will never forget his creator for successfulness in an endeavor. I am so grateful to God for seeing me through this project work though faced with challenges. I will like to also show appreciation to my supervisors; Professor John Collins and Mr. Ken Kafui, both of the Music Department of the University of Ghana, Legon for pains-takingly going through and putting to shape this work. Thanks are to Mr. Zablong Zachariah Abdullah (African Studies, university of Ghana legon) who allowed himself to be engaged in one-on-one discussion about Lunsi music. I appreciate the time, energy, space and knowledge rendered. Thanks are to Mr. Joseph Abaidu (Tarkwa-Tamso St. -
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston
West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston by Jason John Squinobal Batchelor of Music, Music Education, Berklee College of Music, 2003 Master of Arts, Ethnomusicology, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Ethnomusicology University of Pittsburgh 2009 ffh UNIVERSITY OF PITTSBURGH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Jason John Squinobal It was defended on April 14, 2009 and approved by Dr. Nathan T. Davis, Professor, Music Department Dr. Akin Euba, Professor, Music Department Dr. Eric Moe, Professor, Music Department Dr. Joseph K. Adjaye, Professor, Africana Studies Dissertation Director: Dr. Nathan T. Davis, Professor, Music Department ii Copyright © by Jason John Squinobal 2009 iii West African Music in the Music of Art Blakey, Yusef Lateef, and Randy Weston Jason John Squinobal, PhD University of Pittsburgh, 2009 Abstract This Dissertation is a historical study of the cultural, social and musical influences that have led to the use of West African music in the compositions and performance of Art Blakey, Yusef Lateef, and Randy Weston. Many jazz musicians have utilized West African music in their musical compositions. Blakey, Lateef and Weston were not the first musicians to do so, however they were chosen for this dissertation because their experiences, influences, and music clearly illustrate the importance that West African culture has played in the lives of African American jazz musicians. Born during the Harlem Renaissance each of these musicians was influenced by the political views and concepts that predominated African American culture at that time. -
Spending Time with the Effervescent Members of the Gangbé Brass
° GANGB É BRASS BAND ° ° GANGB É BRASS BAND ° eep in the green bush that Spending time with the eight effervescent surrounds the ancient members of the Gangbé Brass Band is a bit Beninese city of Abomey, a like being immersed in one huge African voodoo priest specialising in living dictionary. Between them they speak at affairs of the heart prepares least ten different African languages, all mixed D his ceremony. In order to correctly divine up into one huge linguistic spaghetti. Each the destiny of the curious, lovesick patient member comes from a different region of the who has been sent to see him, he calls upon country, with its own rhythms and melodies. the fetishes to enter the spiritual circle. First ‘La Porte du Non Retour’, a song on the a bell sounds, hard metal on metal, and then What do you get when you mix West African ritual music new album, is sung in the adja language, says a crying out, almost like a mourning wail as with colonial marching band traditions? Rose Skelton finds Yovogan: “Before I joined, there was no one a line of young children, wrapped in hessian out with Benin’s Gangbé Brass Band from my region in the group, so to get that sacks, their bare backs rubbed with some kind PHOTOS MICHel DE BOCK diversity, we sang this song in my language of dark oil, creep into the mud compound and I translated it for everyone. It has the led by a woman who leads the rhythmic rhythms of my region, which anyone who chanting. -
African Music Vol 6 No 2(Seb).Cdr
48 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC LONG TRUMPETS OF NORTHERN NIGERIA — IN HISTORY AND TODAY by K. A. GOURLAY “long wooden trumpet ... the lower end (of which) bulges out as the ramrod of a great gun” (Oudney, in Denham and Clapperton 1826:301) “a thin conical tube, made of two or three sections .., a rather large hell, and bulging rings that mark the beginning of each section” (Sachs 1940:210). A visitor arriving at Kano International Airport in northern Nigeria on the same flight as a local V.I.P.2 may find himself greeted by a blast on an instrument which, at first sight, suggests an elongated European hunting horn or that used by post illions of eighteenth century stage-coaches. It may remind him of the long, straight trumpet in Giotto’s Crowning o f the Virgin (ca. 1317) or of the instruments on the medallion from Guerrero Lovillo’s Cantigas de Santa Maria on the sleeve of H.M.V.’s “Early Medieval Music”. Of the quotations at the head of this article the second would seem an appropriate description, but in fact refers to a Chinese trumpet of the later middle ages. It is the first which records the earliest sighting of a Nigerian long trumpet by a British explorer, the ill-fated Oudney, in a letter home on 28th March 1823. The starting point for any enquiry is to discover the link between pres ent day Nigerian and medieval Chinese or European trumpets and to investigate what happened to those made of wood. -
Linguistic Diffusion in the Development of Hausa Language
Journal of Translation and Language Studies J Trans & Lang Stud jtls.sabapub.com (2021)2(1) : 82 - 93 ISSN:2709-5681 doi:https://doi.org/10.48185/jtls.v2i1.196 Linguistic Diffusion in the Development of Hausa Language 1,* Hamzat Na'uzo Abdulkadir Department of English, University of Abuja, Abuja, , Nigeria Received: 01.02.2020 • Accepted: 20.03.2021 • Published: 31.03.2021 • Final Version: 31.03.2021 Abstract: The purpose of this paper is to prove that intercultural relationship and sufficient contact between Hausa and other languages result in linguistic diffusion or borrowing. The study adopts both the historical and descriptive survey research design, predicated on the need for a brief history of Hausa and the donor languages, and descriptive design to facilitate the use of secondary data generated from textbooks, theses, dissertations, seminar and conference papers. The study traces the location of Hausa people in order to vividly comprehend the nature of contact with the donor languages which effectively bears on the objective nature of the borrowed words. It is in this light that three types of language relationship emerged: genetic, typological and cultural. The intercultural relationship can be unidirectional (English and Hausa) or bi-directional (Hausa and Yoruba). The work provides concrete examples from Tuareg, Fulfulde, Kanuri, Yoruba, Nupe, Arabic and English languages to demonstrate the long contact with the Hausa language. The study finally observes suppressive interference on the structures of Hausa especially from Arabic and English, which have attained second language status in Hausa society, which, again, does not make the language lose its originality. -
A Comparative Study of the Social Function of African Algaita and Chinese Suona
A COMPARATIVE STUDY OF THE SOCIAL FUNCTION OF AFRICAN ALGAITA AND CHINESE SUONA A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts By Shasha Zhu May, 2018 ii Thesis written by Shasha Zhu B. A., Tianjin Conservatory of Music, 2007 M. A., Tianjin Conservatory of Music, 2010 M. A., Kent State University, 2018 Approved by Kazadi wa Mukuna, Ph.D., Advisor, Master Thesis Committee Theodore Albrecht, Ph.D., Member, Master Thesis Committee Richard Devore, Ph.D., Member, Master Thesis Committee iii TABLE OF CONTENTS TABLE OF CONTENTS ....................................................................................................................... iii LIST OF FIGURES ............................................................................................................................... iv LIST OF TABLES .................................................................................................................................. v ACKONWLEDGEMENTS ................................................................................................................... vi CHAPTER I. INTRODUCTION ............................................................................................................ 1 II. THE GENESIS OF DOUBLE-REED MUSICAL INSTRUMENTS ........................... 19 III. THE ETYMOLOGY OF “ALGAITA” AND “SUONA” ........................................... 40 IV. THE MORPHOLOGICAL STRUCTURES OF THE AFRICAN ALGAITA AND THE CHINESE -
Folk Music in Contemporary Nigeria: Continuity and Change
FOLK MUSIC IN CONTEMPORARY NIGERIA: CONTINUITY AND CHANGE BY AKPONOME, ABEL OGHENEOVO Ph.D (ARTS) 14747/2007/08) A Ph.D DISSERTATION SUBMITTED TO THE DEPARTMENT OF THEATRE AND PERFORMING ARTS, AHMADU BELLO UNIVERSITY ZARIA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY AHMADU BELLO UNIVERSITY, ZARIA. AUGUST, 2014 i DECLARATION I hereby declare that this dissertation is written by me and that it is a record of my own research work. It has not been submitted in any previous application for a higher degree. All quotations are indicated and all sources of information are duly acknowledged by means of reference. ............................................ ................................... .............................. Akponome, Ogheneovo Abel. Signature Date ii CERTIFICATION This dissertation entitled “Folk Music in Contemporary Nigeria: Continuity and Change” by Akponome, Ogheneovo Abel , meets the regulations governing the award of Doctor of Philosophy in Theatre and Performing Arts of Ahmadu Bello University, Zaria and it is approved for its contribution to knowledge. ................................................. ...................... .............................. Professor. Oga Steve. Abah. Signature Date Chairman, Supervisory Committee ................................................. ............. ........... ............................. Professor Jenkeri Z. Okwori. Signature Date Member, Supervisory Committee .............................................. ...........................