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The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document generated on 09/27/2021 1:07 p.m. Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Article abstract Volume 21, Number 2, 2011 This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a URI: https://id.erudit.org/iderudit/1005272ar new anthology, Piano Music of Africa and the African Diaspora, edited by DOI: https://doi.org/10.7202/1005272ar Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of See table of contents creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the Publisher(s) encounters of Steve Reich and György Ligeti with various African repertories. Les Presses de l’Université de Montréal Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, ISSN Uzoigwe, Euba, Labi and Osman serve as illustration. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Agawu, K. (2011). The Challenge of African Art Music. Circuit, 21(2), 49–64. https://doi.org/10.7202/1005272ar Tous droits réservés © Les Presses de l’Université de Montréal, 2011 This document is protected by copyright law. -
Explore African Immigrant Musical Traditions with Your Students Recommended for Grade Levels 5 and Up
Explore African Immigrant Musical Traditions with Your Students Recommended for Grade Levels 5 and up Teacher Preparation / Goals African immigrant musical traditions are as rich and varied as the many languages and cultures of Africa. There are many different reasons for their formation; to explore new influences, to reshape older practices, or to maintain important traditions from the homeland. In these reading and activities students will learn about the African immigrant musical traditions found in the Washington, D.C. area. Special programs held after school and during the weekend and summer have been initiated to teach children more about their culture through the medium of music and dance. In the African immigrant community, music and dance groups immerse the students in the culture of their ancestors’ homeland. Some of these groups have been here for many years and are an important part of the community. Many African-born parents value these programs because they fear that their American-born children may be losing their heritage. In preparation for the lesson read the attached articles, "African Immigrant Music and Dance in Washington, D.C." and "Nile Ethiopian Ensemble: A Profile of An African Immigrant Music and Dance Group." See what you can find out about the musical traditions to be found in your area, and not just those performed by African immigrants, but by others as well. For example, when you start looking, you may find a Korean group or a group from the Czech Republic. If possible, visit a performance of a music or dance group and talk to the teachers or directors of the group. -
“Which Way Nigeria?”
J EAN-CHRISTOPHE S ERVANT “Which way Nigeria?” MUSIC UNDER THREAT: A QUESTION OF MONEY, MORALITY, SELF-CENSORSHIP AND THE SHARIA “WHICH WAY NIGERIA?” Music under Threat: A Question of Money, Morality, Self-Censorship and the Sharia by JEAN-CHRISTOPHE SERVANT Published by Freemuse Editor in Chief: Marie Korpe Translated from French by Daniel Brown ISSN 1601-2127 Layout: Sigrún Gudbrandsdóttir Cover illustration: Ali Bature Printed in Denmark 2003 by Handy-Print © Freemuse 2003 The views in the report do not necessarily represent the views of Freemuse. Report no. 04/2003 Freemuse Wilders Plads 8 H · 1403 Copenhagen K. · Denmark tel: +45 32 69 89 20 · fax: +45 32 69 89 01 e-mail: [email protected] web: www.freemuse.org OTHER PUBLICATIONS BY FREEMUSE: 1st World Conference on Music and Censorship (2001, ISBN: 87-988163-0-6) “Can you stop the birds singing?” – The Censorship of Music in Afghanistan, by John Baily (2001, ISSN: 1601-2127) “A Little Bit Special” – Censorship and the Gypsy Musicians of Romania, by Garth Cartwright (2001, ISSN: 1601-2127) Playing With Fire – Fear and Self-Censorship in Zimbabwean Music, by Banning Eyre (2001, ISSN: 1601-2127) TABLE OF CONTENTS PREFACE 5 ABSTRACT 7 5 CASE STUDY: FEMI KUTI - ABOUT THE AUTHOR 8 the banning of "Bang, Bang, Bang" MAP 9 5.1 Biography of Femi Kuti 56 INTRODUCTION 11 5.1.1 NBC vs. Femi Kuti 59 1 THE YEARS OF DEMOCRAZY: 6 GANGSTA RAP AND MAKOSSA 1999-2002 15 6.1 High moral grounds versus 65 the "Music of the Devil" 2 GENERAL BACKGROUND ON NIGERIA 2.1 Religion 17 7 SHARIAPHRENIA 2.2 -
Redefining Ghanaian Highlife Music in Modern Times
American Journal of Humanities and Social Sciences Research (AJHSSR) 2020 American Journal of Humanities and Social Sciences Research (AJHSSR) e-ISSN :2378-703X Volume-4, Issue-1, pp-18-29 www.ajhssr.com Research Paper Open Access Redefining Ghanaian Highlife Music in Modern Times Mark Millas Coffie (Department of Music Education/ University of Education, Winneba, Ghana) ABSTRACT: Highlife, Ghana's first and foremost acculturated popular dance music has been overstretched by practitioners and patrons to the extent that, presently, it is almost impossible to identify one distinctive trait in most of the modern-day recorded songs categorised as highlife. This paper examines the distinctive character traits of Ghana's highlife music, and also stimulates a discourse towards its redefinition for easy recognition and a better understanding in modern times. Employing document review, audio review, interviews, and descriptive analysis, the paper reveals that the instrumental structure, such as percussion, guitar, bass, and keyboard patterns, is key in categorising highlife songs. The paper, however, argues that categorising modern-day recorded highlife songs based on timeline rhythms and drum patterns alone can be confusing and deceptive. The paper, therefore, concludes that indigenous guitar styles such as the mainline, yaa amponsah, dagomba, sikyi, kwaw, ᴐdᴐnson among others should be the chief criterion in recognising and categorising modern-day recorded highlife songs. KEYWORDS: Category, Highlife, Modern-day, Recognition, Timeline rhythm, Indigenous guitar styles I. INTRODUCTION Highlife music, one of the oldest African popular music forms originated from the Anglophone West African countries such as Ghana, Nigeria, Sierra Leone, and Liberia. However, the term highlife was coined in Ghana around the 1920s (Collins, 1994). -
106 Operational Arrangement of Rhythm in Nigerian
106 OPERATIONAL ARRANGEMENT OF RHYTHM IN NIGERIAN REGGAE SONGS Ikenna Emmanuel Onwuegbuna Department of Music University of Nigeria, Nsukka Abstract Certain elements are globally accepted as intrinsic commonalities in the phenomenon of sound. Such elements as rhythm, pitch, timbre, and duration when consciously or subconsciously manipulated distinguish the musical sound from the rest. Nigerian popular music—especially the highlife genre—is an acculturative product of the folk music of the traditional environment. The recently renewed scholarly interest in the rhythmic languages of African music has unveiled the centrality of rhythm as the distinctive element of relationship between the Nigerian popular and folk music types.As the argument on the musical value of popular music persists, this scholarly presentation relied on descriptive and analytical methods to show the dominating place of rhythm in the creative rationalization in Nigeria’s reggae songs of the 1970s and ’80s. Keywords: Rhythm, Nigerian popular music, functional, reggae rhythm, song structure Introduction Why is it that Afro-reggae’s biggest exponents come from West Africa? What is/are there in reggae that it quickly found a point of anchorage in Africa? Is it possible that there are similarities between the two Caribbean Island’s calypso and reggae styles and the predominant popular style of West Africa, the highlife? It has been reported that the early stages of Western influence on the popular music of West, East, and Central Africa came from the Caribbean. While calypso, reggae and rumba represent the Caribbean influential styles; highlife, soukous, and makossa remain the most enduring of the styles performed in these sub-regions of Africa (Collins, 1992; Waterman, 2012). -
Music Genre/Form Terms in LCGFT Derivative Works
Music Genre/Form Terms in LCGFT Derivative works … Adaptations Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Excerpts Facsimiles … Illustrated works … Fingering charts … Posters Playbills (Posters) Toy and movable books … Sound books … Informational works … Fingering charts … Posters Playbills (Posters) Press releases Programs (Publications) Concert programs Dance programs Film festival programs Memorial service programs Opera programs Theater programs … Reference works Catalogs … Discographies ... Thematic catalogs (Music) … Reviews Book reviews Dance reviews Motion picture reviews Music reviews Television program reviews Theater reviews Instructional and educational works Teaching pieces (Music) Methods (Music) Studies (Music) Music Accompaniments (Music) Recorded accompaniments Karaoke Arrangements (Music) Intabulations Piano scores Simplified editions (Music) Vocal scores Art music Aʼak Aleatory music Open form music Anthems Ballades (Instrumental music) Barcaroles Cadenzas Canons (Music) Rounds (Music) Cantatas Carnatic music Ālāpa Chamber music Part songs Balletti (Part songs) Cacce (Part songs) Canti carnascialeschi Canzonets (Part songs) Ensaladas Madrigals (Music) Motets Rounds (Music) Villotte Chorale preludes Concert etudes Concertos Concerti grossi Dastgāhs Dialogues (Music) Fanfares Finales (Music) Fugues Gagaku Bugaku (Music) Saibara Hát ả đào Hát bội Heike biwa Hindustani music Dādrās Dhrupad Dhuns Gats (Music) Khayāl Honkyoku Interludes (Music) Entremés (Music) Tonadillas Kacapi-suling -
A World of Music Playlist
A World of Music Playlist World Music Day is an annual celebration on the 21st June to honour amateur and professional musicians alike. To mark this event, we have prepared a list of a selection of compilation CDs of music from around the world and which are available in Cape Town libraries. We would like to introduce you to the incredible variety of music that exists on our planet. The Cape Town Library Service holds thousands of compact discs and the lists below are just a small representation of the many compact discs that are available in our libraries. Apart from the thousands of recordings by specific artists, there are over 200 compilation CDs of so-called World music at various public libraries in Cape Town that feature music from all parts of the globe. To celebrate the development of music culture everywhere we encourage you to explore our music collections. So-called World Music is a multi-genre field that includes a wide range of modern and traditional music from all around the world. Several record companies have specialised in bringing African and World music to a wider audience and probably the best-known and most prolific of these labels are Putumayo and the Rough Guides which feature heavily in the list below. Well-known genres of World Music include such diverse styles of music as salsa, samba and tango from Latin America, reggae and calypso from the Caribbean, Cajun, Zydeco and native American music from North America, Makossa, Afrobeat and the desert-blues from Africa, Indian classical music and Mongolian folk music from Asia, as well as, flamenco, klezmer and Romani music from Europe and the Balkans. -
Download File
Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Timothy Roark Mangin All rights reserved ABSTRACT Mbalax: Cosmopolitanism in Senegalese Urban Popular Music Timothy Roark Mangin This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax. -
The Protection and Promotion of Musical Diversity
THE PROTECTION AND PROMOTION OF MUSICAL DIVERSITY A study carried out for UNESCO ∗ by the International Music Council Richard Letts, Principal Investigator June 2006 ∗ This study is made available to the public with the prior agreement of UNESCO. CONTENTS Preface 6 Introduction 8 The countries from which information was received 13 Executive summary 15 ADDRESSING THE TERMS OF REFERENCE 28 1. Musical diversity and human rights 29 1.1 International human and cultural rights conventions 29 1.2 From the consultants’ reports 33 1.3 Freemuse: a watchful ear 42 2. Musical diversity and sustainable development 44 2.1 Music in development, development of music 44 2.1.1 The developed and developing worlds 45 2.1.2 Cultural development vs. industry assistance 46 2.1.3 Musical diversity and development 47 2.2 Music in development 47 2.2.1 Music as a source of funds for non-music 48 development projects 2.2.2 Music as a tool of advocacy for development 48 2.2.3 Music as a lure to involve people in development 48 programs 2.2.4 Music as an element in non-music development 49 2.3 Development of a music industry 51 2.3.1 Some research studies and theoretical papers 51 2.3.2 Development projects 55 2.3.2.1 The forms of development 55 2.3.2.2 Targets for support 58 2.4 The use of music to alleviate poverty or the conditions 66 contributing to poverty 3. Musical diversity and peace 72 4. The standards regulating musical diversity 79 4.1 Possible forms of regulation impacting on musical diversity 80 4.2 Examples of the current application of regulations to 82 affect musical diversity 4.2.1 Broadcast 83 2 4.2.2 New media and e-commerce 91 4.2.3 Education 93 4.2.4 Subsidies 98 4.2.5 Copyright 102 5. -
Program Guide (Pdf)
WEEKDAYS Mark & Evelyn’s American Top 41 Mark Shape-Shift & Trick Hannah 9–10p Nebulosity Ben Bray 10–11p A weekly The Clinton Years Galen Mook 11p–12a [a] Bike Talk Galen Mook 7–8p [a] BikeTalk is an The SurreaList Gillian Roeder 6–7p [n] Gorilla Got Me Sister Sara J. 4–5:30p Robinson 11a–12p [a] The hottest new Get the week started right by hitting that trajectory through the Wayoutosphere, Those who cannot remember the past are open discussion with guests and listeners about To the ear, the track may sound like a The rejects, rebels, and assorted losers of rock & Breakfast of Champions Tim, Ted, Becca, countdown show in the country and the second musical sweet spot of alternative, indie rock, composed of jazz, rock, R&B, shoegazer, condemned to repeat it. So, join us as we dive all things bicycle; with tool tips and advice, stream-of-consciousness jumble of genres, roll have returned! The Gorilla is back from the Roksi, Erik, & Jon 8–10a Start your morning best countdown show on WMBR! Join Mark & and pop hits. experimental, and oceanic music, with some into the nostalgia of the ’90s with The Clinton advocacy, history, current issues, biking events, but songs are all united by a common bond. jungle and ready to stomp you like a piece of off right with a bowl full of sugary sweet pop Evelyn every other Sunday to hear the top 41 news about the ocean. Depart from a techno Years. We’ll feature the hits and deep cuts from and much more. -
Afrobeat, Fela and Beyond: Scenes, Style and Ideology
AFROBEAT, FELA AND BEYOND: SCENES, STYLE AND IDEOLOGY by Oyebade Ajibola Dosunmu BA, Obafemi Awolowo University, Ile-Ife, Nigeria, 2001 MA, University of Pittsburgh, 2005 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH FACULTY OF ARTS AND SCIENCES This dissertation was presented by Oyebade Ajibola Dosunmu It was defended on November 12, 2010 and approved by Jean-Jacques Sene, PhD, Department of History, Chatham University Laurence Glasco, PhD, Department of History Mary Lewis, PhD, Department of Music (Emerita) Nathan Davis, PhD, Department of Music Akin Euba, PhD, Department of Music ii Copyright © by Oyebade Dosunmu 2010 iii AFROBEAT, BEYOND FELA: SCENES, STYLE AND IDEOLOGY Oyebade Ajibola Dosunmu, PhD University of Pittsburgh, 2010 Afrobeat first emerged in the late 1960s amid the rapidly changing postcolonial terrain of Lagos, Nigeria. Created by Fela Anikulapo-Kuti (1938-1997), the genre blends scathing anti-establishment lyrics with Yoruba traditional music and Western forms, particularly jazz. Fela’s ideological dictum: “Music is the Weapon of the Future,” encapsulates his view of music as an oppositional tool, his enactment of which led to frequent violent confrontations with the Nigerian state. Throughout his lifetime, Fela held hegemonic sway over afrobeat’s stylistic and ideological trajectories. However, following his death, the genre has witnessed a global upsurge with protégés emerging in New York City, San Francisco, Paris, London and other cultural capitals of the world. In my dissertation, I chronicle afrobeat’s transnational networks and discuss processes of stylistic and ideological affiliation through which such networks have emerged. -
Musical Infrastructures and Techniques of Survival in Dakar
Bard College Bard Digital Commons Senior Projects Spring 2018 Bard Undergraduate Senior Projects Spring 2018 Musical Infrastructures and Techniques of Survival in Dakar Simon Charles DeBevoise Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2018 Part of the Ethnomusicology Commons, and the Social and Cultural Anthropology Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation DeBevoise, Simon Charles, "Musical Infrastructures and Techniques of Survival in Dakar" (2018). Senior Projects Spring 2018. 333. https://digitalcommons.bard.edu/senproj_s2018/333 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to 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. For more information, please contact [email protected]. Musical Infrastructures and Techniques of Survival in Dakar A Senior Project jointly submitted to the Division of Social Studies and the Division of Arts of Bard College by Simon DeBevoise Annandale-on-Hudson, New York May, 2018 Contents Acknowledgments v Introduction Musical Infrastructures 1 1 Critiquing Mbalax How the National Popular