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Ghanaian Highlife Sound Recordings of the 1970S: the Legacy of Francis Kwakye and the Ghana Film Studio
Popular Music (2021). © The Author(s), 2021. Published by Cambridge University Press. This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited, page 1 of 18 10.1017/S0261143021000143 Ghanaian highlife sound recordings of the 1970s: the legacy of Francis Kwakye and the Ghana Film Studio ERNEST OWUSU-POKU University of Ghana, Music, Legon, Greater Accra, Ghana E-mail: [email protected] Abstract There is a striking variance between the sounds of highlife music recorded in the 1950s and 1960s and that of the 1970s. This difference can be attributed partly to the advancement of recording technology, a shift from shellac to vinyl records as well as the advent of multi-track tape recorders in Ghana. The 1970s had a unique highlife sound that can be situated within and explained by the socio-cultural context of recording approaches embraced by studio engineers. This paper inves- tigates the technological approaches to the production of highlife songs at the Ghana Film Studio (GFS) and how they reshaped the highlife soundscape in the 1970s. It also draws attention to the influence of Francis Kwakye, the then resident recording engineer of GFS as a case study to explore highlife sound on records within this period. Employing document review, audio review, observations and interview for data collection, the paper reveals that the engineering techniques and tools employed on the recordings were socio-culturally influenced and constructed to resonate with the Ghanaian identity of the time. -
Zwischen Hiplife Und Afrofunk | Norient.Com 5 Oct 2021 16:43:44
Zwischen Hiplife und Afrofunk | norient.com 5 Oct 2021 16:43:44 Zwischen Hiplife und Afrofunk by Stefan Franzen Mit der aktuellen Afrofunk-Welle trifft auch die Musik aus dem Ghana der 1970er wieder ans europäische Ohr. Im Land selbst kümmern die alten Helden jedoch fast niemanden – dort regiert der Hiplife. Der Hybrid aus HipHop und lokalen Einflüssen hat eine kurze und schon jetzt wechselvolle Geschichte. Aus dem Norient-Buch Out of the Absurdity of Life (hier bestellbar). Es sind diese irren Melodien. Klebrig-süsse, synthetische Gesangslinien, die einem mehrstimmig aus jedem Soundsystem entgegen springen. Und die sich beim näheren Hinhören, bleibt man einmal auf den riesigen Märkten zwischen Körben voller schwarzer Schnecken, Bergen von Pfefferschoten und Stapeln von Musikkassetten stehen, als Geist in der Maschine entpuppen. Hier singt nicht nur ein Mensch, hier singt vor allem der Vocoder. Dazwischen: Schneller Rap, aus dem Fetzen von Pidgin English ragen, der aber meistens in einem fremden Idiom passiert. Darunter: plakative, programmierte Beats, sie pumpen komplexe, schnelle Rhythmen heraus. Doch es sind vor allem diese irren Melodien der Menschmaschine, die nicht mehr aus den Gehörgängen weichen wollen während der nächsten zwei Wochen. Und die schnell den Verdacht aufkommen lassen, dass Accra mehrere musikalische Realitäten besitzt. Diejenige, der man am wenigsten ausweichen kann, heisst Hiplife. https://norient.com/stories/ghana2011 Page 1 of 16 Zwischen Hiplife und Afrofunk | norient.com 5 Oct 2021 16:43:44 Die neue Afro-Quelle Trotzdem versuche ich das zunächst. Schliesslich bin ich für eine andere, europäische Vorstellung von ghanaischer Musik hergekommen. Die Eminenz des Afrofunk soll ich treffen, einen der Grossen der 1970er. -
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). -
French Pop Music Remakes in Turkey
French pop music remakes in Turkey A cognitive semiotic inquiry into cultural transfer Azize Güneş Supervisor: Göran Sonesson Centre for Languages and Literature, Lund University MA in Languages and Literature, Cognitive Semiotics SPVR01 Languages and Linguistics: Degree Project – Master’s (Two years) Thesis, 30 credits May 2017 Abstract In this thesis, the importation, transformation and distribution of French popular music in Turkey during the 20th century have been investigated as a case study of cultural transfer. By using theories and methods within a cognitive semiotic framework, this study provides an overview of the phenomenon of French pop music remakes in Turkey by accounting for the initial situation of communication of remade pop music through recorded materials, and by providing an analysis of the changes made to the songs when transformed from French to Turkish, as well as the linguistic meanings that were made available to the Turkish public in this process. Meaning making procedures in connection to pop music have been considered by analyzing components of pop music, the cognitive capacities of human beings to understand pop music, and procedures of cultural communication enabling the integration of new artefacts in a culture. According to the results of this thesis, 160 Turkish language remakes of songs originally performed in French have been produced and distributed in Turkey between 1961- 1991. The most concentrated period of production occurred during a 10-year period between 1967-1977, with a considerable peak in 1968-1969. Of the songs produced during the peak of 1968-1969, 25% account for the original French song lyrics either as “song translations” or “adaptations” of their original French versions, transferring linguistic meanings to the Turkish target culture. -
Legende Des Afrobeat
& jazzworld music Ebo Taylor Legende des Afrobeat harmonia mundi gmbh Zimmerstraße 68 · 10117 Berlin Tel. 030/2062162-0 · Fax 030/2062162-10 [email protected] Foto: © Tom Herbots Foto: © Tom IV/2018 www.harmoniamundi.com Die aktuellen Bestseller Hugh Masekela Franui Masekela '66-'76 Ständchen der Dinge 3 CDs: WRASS 354 (R01) COL 20440 (T01) 1 2 »Das große Erbe eines rebellischen Genies.« L'HUMANITÉ (F) »Unterhaltsam im besten Sinne, berührend, musikalisch, musikantisch, authentisch. Eben Franui – eine eigene Klang- vorstellung. Unverwechselbar!« BR KLASSIK Johnny Hallyday Sentimental – Retiens la nuit Lévon Minassian Armand Amar Songs from a World Apart 2 CDs: LDX 2742734- (H01) LD 0570205 (R01) 3 4 Gianmaria Testa En studio Darius Rucker When Was the Last Time 7 CDs: LDX 5742650- (K03) 5 HUMP 203 (N01) 6 Lia Pale/Mathias Rüegg The Schumann Song Book »Rucker schafft es, an dem großartigen Sound seiner bis- herigen Soloalben anzuknüpfen und dabei doch irgendwie erfrischend neu zu klingen.« COUNTRY & CO. Ahmad Jamal LR 17048 (T01) Marseille 7 »… keineswegs ein ›Experiment‹, sondern Musik, die ans Herz greift. Als wäre sie für uns Spätgeborene geschrieben.« JV 570136 (R01) WELTWOCHE (CH) 8 Antonio Sanchez WDR Big Band, V. Mendoza Channels of Energy Lucky Peterson Tribute to Jimmy Smith 2 CDs: CAMJ 7922-2 (I02) 9 JV 570135 (R01) Das neue Album des mehrfachen Grammy-Gewinners 10 Antonio Sanchez. 2 Ebo Taylor Neues Studioalbum Ebo Taylor © Ebo Taylor Ebo Taylor Yen Ara Die ghanaische Musiklegende Ebo Taylor kehrt mit dem – nach eigener Aussage – vielleicht besten Album zurück. Der 81-jährige Komponist, Ar- rangeur, Gitarrist und Sänger verband westafrikanischen Highlife mit Jazz Artikelnummer: MRB CD 155 und Funk und wurde zu einer Schlüsselfigur des Afrobeat. -
Yaa Amponsah and the Rhythm at the Heart of West African Guitar
“You can’t run away from it! The melody will always appear!” Yaa Amponsah and the Rhythm at the Heart of West African Guitar A thesis submitted by Nathaniel C. Braddock in partial fulfillment of the requirements for the degree of Master of Arts in Music Tufts University August 2020 Adviser: Jeffrey Summit © 2020, Nathaniel C. Braddock Abstract The song “Yaa Amponsah” is held by Ghanaian musicians as the key to all highlife music. However, Amponsah occupies two spaces: that of a specific song with folkloric and historical origin stories, and that of a compositional form—or “Rhythm”—from which countless variations have evolved over the past century. This thesis seeks to define Amponsah as a style where certain characteristics are not always clear but are continually present and recognizable cross-nationally. Using musical analysis and ethnographic interviews with West African guitarists, I explore the movement of Amponsah across generations and national boundaries, drawing larger conclusions that have implications for understanding the transmission of cultural practice and embedded cultural memory carried within a specific musical expression. The Rhythm makes impactful appearances in the music of neighboring countries, becoming entwined with the Mami Wata myth, further complicating our understanding of ownership and origin, and bringing this song to the center of a debate regarding ownership of folkloric intellectual property and the relationship between developing nations and global capital. i Acknowledgements My journey has been supported by numerous people, and I wish now to salute their love, friendship, and guidance. My wife Julie Shapiro and son Phineas have given the most during this process, but I also owe much to my parents Robert and Sarah Braddock whose respect of my independence enabled me to follow the less trodden paths. -
14 El Otro Adamo
MÚSICA El otro Adamo Sergio Armstrong C.* Al cantautor Salvatore Adamo lo conoce- mos la mayoría de los chilenos por algu- nas canciones de festival. Junto con ex- poner algunas letras de sus canciones de Silvio Rodríguez decía que la estos últimos años, que abarcan temas El repertorio de Adamo es enor- canción es un arte mayor. Sin duda me: unas 300 canciones en francés tenía razón. Se requiere ser un gran referidos a los niños, al malestar de nues- e italiano, versiones de algunas de artista para componer una buena le- tra cultura, la esperanza, el amor y la muer- ellas en inglés, alemán, japonés; más tra y una buena melodía y, sobre de 90 millones de discos vendidos. todo, para unirlas de modo que pue- te, queremos profundizar en aspectos Por razones de espacio escogeré cin- da una ayudar a la expresión de la poco conocidos del cantante. co temas: los niños, el malestar de otra. nuestra cultura, la esperanza, el amor Sin embargo, este arte mayor y la muerte. Al presentar estas letras suele opacarse cuando, por razones comerciales, se lo produce soy consciente de una doble limitación: la ausencia de la melo- masivamente en función de un mercado en que están en juego día, parte constitutiva de una canción, y la barrera del idioma, grandes cantidades de dinero. Por eso uno agradece cuando se ya que mis traducciones van a empobrecer sin duda los textos topa con un auténtico “maestro” de este difícil arte. Sin duda originales. Para atenuar este último problema pondré la letra que lo son artistas como el mismo Silvio Rodríguez, Serrat, en francés a continuación de la versión en castellano. -
Concert Licensing Catalogue Moods Digital Concert Club
Concert Licensing Catalogue Moods Digital Concert Club www.moods.digital Request your 7-day voucher to preview all concerts online. [email protected] Contact: Claudio Cappellari [email protected] +41 44 276 8002 PDF sorted by Eventname as published on moods.digital. Printed 03.06.2021 © Moods Jazz Association Technical details on request. Moods Jazz Association | Schiffbaustrasse 6 | CH-8005 Zürich/Switzerland www.moods.digital © Moods Jazz Association [email protected] Request your 7-day voucher to preview all concerts online - [email protected] T +41 44 276 80 00 Concert Licensing Catalogue Page 2 17.11.2020 ∞0∞ DREAMERS Style Electronic Jazz Subtitle Pedretti - Iannone - Girod - Schaer Artists Jean-Jacques Pedretti tb/sagattes, Fabien Iannone keyb/synth, Robin Arthur Girod g/b, Nelson Schaer rhythmbox/perc Description Four musicians coming from a free and singular jazz, a jazz for dreamers who privilege the emotional over the performative, turning their repetitive constructions almost to infinity, they decline a romantic and timeless music that lengthens life expectancy. An eternal cycle of improvisations on the theme of pulsation and synthetic modules, between man and machine, between tribal trances and space travel. Concert location: Jazz Club Moods, Schiffbauplatz, CH-8005 Zurich Moods Jazz Association | Schiffbaustrasse 6 | CH-8005 Zürich/Switzerland www.moods.digital © Moods Jazz Association [email protected] Request your 7-day voucher to preview all concerts online - [email protected] T +41 44 276 80 00 Concert Licensing Catalogue Page 3 22.02.2018 2henning Style Experimental Pop Artists Rahel Kraft voc/synth/fx, Valeria Zangger synth/samples/dr Description Hand-made samples get looped, distorted, chased through the synthesizer, overlayed with singing and founded on drums. -
SALVATORE ADAMO En Esta Ocasión Vamos a Abrir Un Pequeño Paréntesis Caballero Por Alberto II, Rey De Los Belgas
MÚSICA POPULAR por José Manuel Rodríguez Alarcón SALVATORE ADAMO En esta ocasión vamos a abrir un pequeño paréntesis caballero por Alberto II, Rey de los belgas. En 2004, en las biografías de artistas españoles, para dedicar los problemas de salud de Adamo lo obligaron a este artículo a un artista que ha sido ampliamente cancelar una gira programada, pero desde 2007 reconocido y admirado en España, ya que ha ha vuelto a hacer giras. A primeros de 2019, se ha actuado numerosas veces en nuestro país, tanto en presentado en España, donde ha actuado en Madrid directo como en televisión, y sus discos cantados y otras ciudades. en español han tenido un gran éxito. ¿Quién no ha bailado alguna vez alguna de sus canciones en los guateques que organizábamos cuando éramos más jóvenes? Salvatore Adamo Nació en Comiso (Italia) el 1 de Sus primeras presentaciones en público eran neta- mente reuniones estudiantiles. Pronto sus padres le animaron para que siguiera cantando ya no sólo en dichas reuniones sino como artista. En 1960 participó en un concurso de Radio Luxem- burgo como cantante y compositor de la canción "Si j'osais" y ganó la final celebrada en París el 14 de fe- brero de dicho año. noviembre de 1943. Su padre Antonio, un pocero, emigró a Bélgica en febrero de 1947 para trabajar en las minas y en junio del mismo año, su esposa Concetta y su hijo Salvatore se unieron a él. En 1950, Adamo estuvo postrado en cama durante un año con meningitis. Los padres no querían que su hijo fuera minero, por lo que fue a una escuela católica. -
Marc Aryan from Wikipedia, the Free Encyclopedia
Marc Aryan From Wikipedia, the free encyclopedia Henri Markarian, better known as Marc Aryan, (born in Valence, France on 14 November 1926 - died in Ohain, Belgium on 30 November 1985) was a French and Belgian singer, songwriter, and record producer born as a French citizen, who Marc Aryan also acquired Belgian citizenship after a long residency in the country. Contents 1 Beginnings 2 Career 3 Markal Record Label 4 Katy Studios and production work 5 Personal life 6 Discography 7 References 8 External links Born Henri Markarian September 14, 1926 Valence, France Beginnings Died September 30, 1985 (aged 59) [1] Marc Aryan was born to Lebanese Armenian parents. coming from Malatya, Turkey. He studied music and piano in Ohain, Belgium Valence, and started writing his own songs. In 1957, he left Valence to Paris for better musical opportunities. In 1963, he Cause of Cardiac arrest went to Belgium where one of his sisters ran a nightclub in Knokke-le-Zoute on the coast. He tried his songs on the dance death routines at the club gaining great favor.[1] Marc Aryan decided to settle permanently in Belgium, first in Waterloo and eventually to Ohain. Nationality French / Belgian Occupation Singer, Songwriter, Career Musician, Record producer Years active 1959 - 1985 Henri Markarian initially released materials under the personal label Markal. He then changed the name of the label to Religion Christian Armenian Malatya where his parents came from. He recorded several songs for an album released in Brussels. With initial success, Henri Markarian decided to adopt the stage name Marc Aryan (derived from pronunciation of his Armenian family name. -
Karaoke Catalog Updated On: 07/03/2019 Sing Online on Entire Catalog
Karaoke catalog Updated on: 07/03/2019 Sing online on www.karafun.com Entire catalog TOP 50 Shallow - A Star is Born Piano Man - Billy Joel House Of The Rising Sun - The Animals Tennessee Whiskey - Chris Stapleton Before He Cheats - Carrie Underwood Black Velvet - Alannah Myles Bohemian Rhapsody - Queen My Girl - The Temptations Tequila - The Champs Sweet Caroline - Neil Diamond Fly Me To The Moon - Frank Sinatra Amarillo By Morning - George Strait Don't Stop Believing - Journey Dancing Queen - ABBA Neon Moon - Brooks & Dunn Friends In Low Places - Garth Brooks Africa - Toto New York, New York - Frank Sinatra Take Me Home, Country Roads - John Denver Zombie - The Cranberries Me And Bobby McGee - Janis Joplin Uptown Funk - Bruno Mars Wagon Wheel - Darius Rucker Don't Stop Me Now - Queen Can't Help Falling In Love - Elvis Presley Let It Go - Idina Menzel Always Remember Us This Way - A Star is Born Folsom Prison Blues - Johnny Cash Killing me Softly - The Fugees Santeria - Sublime Ring Of Fire - Johnny Cash Jackson - Johnny Cash Livin' On A Prayer - Bon Jovi Perfect - Ed Sheeran Valerie - Amy Winehouse These Boots Are Made For Walkin' - Nancy Sinatra I Want It That Way - Backstreet Boys Jolene - Dolly Parton Baby Shark - Pinkfong Summer Nights - Grease (film) All Of Me - John Legend What A Wonderful World - Louis Armstrong Girl Crush - Little Big Town Turn The Page - Bob Seger Always On My Mind - Willie Nelson My Way - Frank Sinatra Wannabe - Spice Girls Your Man - Josh Turner Crazy - Patsy Cline I Wanna Dance With Somebody - Whitney Houston -
The Introduction of Popular Music Courses to Ghanaian
John Collins: Introduction of Popular Music Studies in Ghanaian Universities (2011) 1 THE INTRODUCTION OF POPULAR MUSIC COURSES TO GHANAIAN UNIVERSITIES by John Collins Keynote address at the 17th Biennial Conference (entitled ‘Situating Popular Musics’) of the International Association for the Study of Popular Music (IASPM), held 27 June‐ 1 July 2011, Rhodes University, Grahamstown, South Africa PLEASE NOTE THAT THIS PROVISIONAL TEXT HAS BEEN SUBMITTED TO THE IASPM ONLINE JOURNAL (http://www.iaspmjournal.net/index.php/ IASPM_Journal) AND, WHEN PUBLISHED IN ITS FINAL VERSION, WILL BE REMOVED FROM THIS SITE AND REPLACED WITH A LINK TO IASPM@JOURNAL First let me say how pleased I am to deliver this paper at this conference, because the last time I spoke at a IASPM event was when Paul Richards and I co‐presented a paper on West African popular music at the association’s very first conference in Holland in 1981. Now, thirty years later, I am making this presentation about teaching African popular music at university level in Ghana. I have sometimes been asked why is it necessary to study African popular music in the col‐ leges and universities of Ghana, as some believe it is too ephemeral, too trivial and too low‐ brow. Nevertheless, the first generation of great African leaders —such as Nyere of Tanzania, Sekou Touré of Guinea, Keita of Mali and Nkrumah of Ghana— all fully recognised the important role that popular music and mass entertainment played in the independence strug‐ gle. For instance, in Ghana during the late 1940s concert parties (i.e. popular theatrical groups) such as the Axim Trio staged plays in support of Nkrumah and his ‘Independence now!’ sentiments, while highlife groups like E.