DOCSLIB.ORG

Traditional Music of the World Playlist

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Traditional Music of the World Playlist Traditional Music of the World Playlist The 9th August is the International Day of the World’s Indigenous People – a day to raise awareness and protect the rights of the world’s indigenous population. To mark this event, we have prepared lists of a selection of recordings of traditional music from around the world that are available in Cape Town libraries. We would like to introduce you to these fantastic musicians and their cultures through music. Music is an important aspect of all societies around the world and sound recordings can provide us with instant access to cultures that we might otherwise never experience. At this time international travel has become increasingly difficult. Music can be an excellent way to explore the huge diversity of cultures and styles of music that exist everywhere on Planet Earth. We can all travel through music, because melodies, rhythms and musical instruments evoke history and the ambience of places and, thus, have the capacity to transport us to distant lands. The Cape Town Library Service holds thousands of compact discs and the lists below are just a very small representation of the many CDs that are available in our libraries. To assist you to navigate our collections of traditional music we have broken up the lists below into regions of the world including: Africa, the Caribbean, Central & North America, South America, the Pacific Ocean, Asia, Britain & Ireland and Europe & the Balkans. Enjoy the important contributions of traditional and folk musicians of all ethnicities to the development of a culture of music everywhere by exploring our music collections. Please enquire at your library about the artists and recordings who interest you. Traditional Music from around the World Country Performers Album Africa Burundi Drummers of Burundi Drummers of Burundi Congo Hugh Tracey, comp. Origins of guitar music in Southern Congo & Northern Zambia Gabon Pierre Ekendengue Lambarena: Bach to Africa Zambia Hugh Tracey, comp. Kalimba & Lalumbu songs, N. Rhodesia / Zambia, 1952 & 1959 Burundi Drummers of Burundi The Drummers of Burundi Kenya Various performers Tribal dance from East Africa Madagascar Various performers The rough guide to the music of Madagascar Malawi Hugh Tracey, comp. Northern & Central Malawi Somalia Waarberi New dawn Tanzania Hugh Tracey, comp. Tanzania instruments: Tanganyika Egypt Mohammed Naiem Master of the Arabian flute Egypt Musicians of the Nile Egypt Morocco Chalf Hassan Rhythms of Morocco Morocco Various performers Music of Morocco Botswana Various performers Tswana & Sotho voices Botswana Various performers Tsisi ka noomga: songs for healing Namibia Mascato Youth Choir Namibian folksongs Namibia Pieter Augab African traveller South Africa Abaqondisi Brothers Ilizwe aliphucuki South Africa Amampondo Raw and undiluted South Africa Madosini Eparadesi Nkosi Uzube Nam South Africa Phuzekemisi Bayede Zulu South Africa Madala Kunene Uxolo South Africa David Kramer David Kramer's Karoo Kitaar blues Zimbabwe Various performers Tales of the mbira Zimbabwe Hugh Tracey, comp. Other musics from Zimbabwe Ghana Pan African Orchestra Opus 1 Mali Afel Bocoum Niger Mali Mamadou Diabate Douga Mansa Senegal Doudou Ndiaye Rose Djabote Senegal Kaouding Cissoko Kora Revolution Nigeria Babatunde Olatunji Drums of passion The Caribbean Bahamas Various performers The real Bahamas in music & song Cuba Various performers Havana & Matanzas, Cuba: Bata, Bembe & Palo Cuba Various performers The rough guide to the music of Cuba Haiti/Dominican Republic/Jamaica Various performers Caribbean Island songs: songs & dances of Haiti, Dominican Republic & Jamaica Martinique Various performers Music of the French Caribbean - Martinique Trinidad Various performers Calypso tropical: don't stop the carnival West Indies Various performers Calypso West Indies Various performers French Indies Central & North America Belize Various performers Paranda: Africa in Central America Mexico Various performers Traditional music from Mexico Mexico Various performers Music around the world - Mexico Mexico Xavier Quijas Yxayoti Aztec dances USA Various performers Authentic Native American music USA Various performers Rough guide to Native American music USA Various performers Tribal voices: Songs from Native Americans South America Argentina Los Calchakis Indian music through the centuries Brazil Various performers Brazil inside Amazonia Brazil Various performers Spirit of Brazil vol. 1 - Songs of the Amazon Indians Chile Various performers Music from South America - Chile Paraguay Los Chiriganos Del Paraguay Paraguay Paraguay Malaguias Music from Paraguay Peru Spirit World Inca Spirit - Peru, vol. 3 Peru Various performers Indian music Peru, vol. 2 Peru/Ecuador/Colombia, etc. Various performers La flute Indienne The Pacific Ocean Australia Gurrumul Yunupingu Australia Charlie McMahon Didjeridu travelling songs Australia Shaun Farrenden Yidaki Hawaii Israel Kamakawiwo'ole Facing future Hawaii Gabby Pahinui Hawaiian Band The Gabby Pahinui Hawaiian Band, Volume 1 New Zealand Kahurangi Maori Papua New Guinea Telek Serious tam South Pacific Islands Various performers Putumayo presents South Pacific Islands Tahiti Various performers A journey to Tahiti Asia China Heart of the Dragon Ensemble Classical folk music from China China Jun Chen Erhu classics China Various performers China - sounds of our stories Japan Mono Walking cloud & deep red sky Japan Shigeo Kishibe Traditional music from Japan Japan Various performers Koto music from Japan India L. Subramaimam Rag hemavati India Shivkumar Sharma Call of the valley India Ustad Sabri Khan (sarod) The art of the Indian sarangi Pakistan Nusrat Fateh Ali Khan Devotional songs Pakistan Sabri Brothers Sufi Bali Various performers Music from the morning of the world Indonesia Various performers Rough guide to the music of Indonesia Java Various performers Javanese Court Gamelan Malaysia Various performers Rough guide to the music of Malaysia Mongolia Various performers Mongolian folk music Nepal/Tibet Various performers Rough guide to the music of the Himalayas Vietnam Various performers Vietnam: Musiques Royales de Hue Iran Hossein Farjani The art of the santoor from Iran Iran Zarbang Persian and Middle Eastern percussion Lebanon Emad Sayyah Oriental dance from Lebanon Syria Zein Al-Jundi Songs from Syria Turkey Istanbul Oriental Ensemble Caravanserai Turkey Various performers Mevlana: music of the Whirling Dervishes Britain & Ireland England Martin Carthy Martin Carthy: a collection Ireland Chieftains The essential Chieftains Ireland Florrie Brown Best of Irish fiddle Ireland Various performers Rough Guide to Irish music Scotland Karen Matheson The dreaming sea Scotland Various performers Rough Guide to Scottish music Scotland Various performers Beginners guide to traditional Scottish music Wales Treochy Male Voice Choir The best of the Treochy Male Voice Choir Europe & the Balkans Bulgaria Ibro Lolov Gypsy music from Bulgaria Macedonia Kocani Orkestar The ravished bride Russia Red Star Red Army Choir Famous Russian love songs Finland Jarvelen Pikkulimannit JPP history Norway Various performers Chants et dances de Norvege Sweden Kurbits Folk music from Sweden France Solange Musette Ensemble Musette from Paris Greece Various performers Rough Guide to Rebetika Greece Constandinou, bouzouki Greece bouzouki and touberleki Italy Angelo Petisi Funiculi Funicula Italian mandoline Italy Spaccanapoli Lost souls Portugal Dulce Pontes O primeiro canto Spain Various performers Duende Spain Various performers Music of the world - Spain .
Load more

Recommended publications
  • Published Papers of the Ethnomusicology Symposia
    International Library of African Music PAPERS PRESENTED AT THE SYMPOSIA ON ETHNOMUSICOLOGY 1ST SYMPOSIUM 1980, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The music of Zulu immigrant workers in Johannesburg Johnny Clegg Group composition and church music workshops Dave Dargie Music teaching at the University of Zululand Khabi Mngoma Zulu children’s songs Bongani Mthethwa White response to African music Andrew Tracey 2ND SYMPOSIUM 1981, RHODES UNIVERSITY (OUT OF PRINT) CONTENTS: The development of African music in Zimbabwe Olof Axelsson Towards an understanding of African dance: the Zulu isishameni style Johnny Clegg A theoretical approach to composition in Xhosa style Dave Dargie Music and body control in the Hausa Bori spirit possession cult Veit Erlmann Musical instruments of SWA/Namibia Cecilia Gildenhuys The categories of Xhosa music Deirdre Hansen Audiometric characteristics of the ethnic ear Sean Kierman The correlation of folk and art music among African composers Khabi Mngoma The musical bow in Southern Africa David Rycroft Songs of the Chimurenga: from protest to praise Jessica Sherman The music of the Rehoboth Basters Frikkie Strydom Some aspects of my research into Zulu children’s songs Pessa Weinberg 3RD SYMPOSIUM 1982, UNIVERSITY OF NATAL and 4TH SYMPOSIUM 1983, RHODES UNIVERSITY CONTENTS: The necessity of theory Kenneth Gourlay Music and liberation Dave Dargie African humanist thought and belief Ezekiel Mphahlele Songs of the Karimojong Kenneth Gourlay An analysis of semi-rural and peri-urban Zulu children’s songs Pessa Weinberg
    [Show full text]
  • Groovology & the Magic of Other People's Music
    Groovology and the Magic of Other People’s Music Charles Keil While the word “groove” seems to be gaining ever greater currency, the explorations and wording of groove phenomena in "musicking" (Small 1998) does not seem to be a rapidly growing field of groovology per se. 1 This paper tries to explain the general lack of academic interest in groovology as a discipline and then argues that some important issues can’t be grasped without it. Every groove is both a mystery or Batesonian 'sacrament' as well as a practical, pragmatic or testable practice within a 'joyous science' of measuring "— ultimately, any 'difference which makes a difference,' traveling in a circuit." (Bateson 1991:xiii) The practical question is something like: what do we have to do with our bodies playing these instruments and singing in order to get their bodies moving, bobbing their heads, snapping their fingers, up from their tables and dancing? The mystery: how do people and musicking become consubstantial, a communion, communitas , a sacrament, the music inside the people and the people inside the music? In Music Grooves (Keil and Feld 1994) and in the “Special Issue: Participatory Discrepancies” of Ethnomusicology (Vol. 39, No. 1, Winter 1995, articles by Keil, Progler, Alen, and 11 respondents) we have tried to persuade ethnomusicologists and other potentially interested scholars (in fields as diverse as political rhetoric, sermonizing, comedy-timing, sex-therapy, sports psychology, play, etc.) that in asking these two questions and in this wording of grooves,
    [Show full text]
  • Song, State, Sawa Music and Political Radio Between the US and Syria
    Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell 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 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music.
    [Show full text]
  • Flamenco, Andalusian Music, Identity, and Cultural Diplomacy in the Festival Des Andalousies Atlantiques D’Essaouira
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`! ! PUR!.IBD?L!HIG!0>F@IC<A;a!"C<M>=?E!.IIDLTTTTUUUTTTTTTTTTUUUUU!P`! ! PUP!3B@DBG<@!0>F@IC<A;TTTTTTTUUTTTTTTTTTTTTTTUUUUUU!Z_! ! PUZ!'J?!3<L?!IH!,@<C?=AITTTTTTTTTTUUTTTTTTTTTTUUUUUUXQ! ! PUX!#BL>A<@!3J<G<AD?G>LD>ALTTTTTTTUTTTTTTTTTTTTUUUUUUUUU!X^! ! PU\!,?LD>N<@!$M?=Da!$M?=D!,?LD>N<@TTTTTTUUTTTTTTTTTTUUUUUUUUU\R!
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • BULLETIN of the INTERNATIONAL FOLK MUSIC COUNCIL
    BULLETIN of the INTERNATIONAL FOLK MUSIC COUNCIL No. XXVIII July, 1966 Including the Report of the EXECUTIVE BOARD for the period July 1, 1964 to June 30, 1965 INTERNATIONAL FOLK MUSIC COUNCIL 21 BEDFORD SQUARE, LONDON, W.C.l ANNOUNCEMENTS CONTENTS APOLOGIES PAGE The Executive Secretary apologizes for the great delay in publi­ cation of this Bulletin. A nnouncements : The Journal of the IFMC for 1966 has also been delayed in A p o l o g i e s ..............................................................................1 publication, for reasons beyond our control. We are sorry for the Address C h a n g e ....................................................................1 inconvenience this may have caused to our members and subscribers. Executive Board M e e t i n g .................................................1 NEW ADDRESS OF THE IFMC HEADQUARTERS Eighteenth C onference .......................................................... 1 On May 1, 1966, the IFMC moved its headquarters to the building Financial C r i s i s ....................................................................1 of the Royal Anthropological Institute, at 21 Bedford Square, London, W.C.l, England. The telephone number is MUSeum 2980. This is expected to be the permanent address of the Council. R e p o r t o f th e E xecutiv e Board July 1, 1964-Ju n e 30, 1965- 2 EXECUTIVE BOARD MEETING S ta tem ent of A c c o u n t s .....................................................................6 The Executive Board of the IFMC held its thirty-third meeting in Berlin on July 14 to 17, 1965, by invitation of the International Institute for Comparative Music Studies and Documentation, N a tio n a l C ontributions .....................................................................7 directed by M.
    [Show full text]
  • Performing Arts in Folk Traditions & Popular Culture in the Arab World
    Performing Arts in Folk Traditions & Popular Culture in the Arab World: An Annotated Syllabus Course Description: This syllabus draws on ideas discussed in our course, specifically: authenticity, cultural hierarchies and their relationship to terminology (terms like 'folk,' 'popular,' 'high-brow,' etc.), music and language, nationalism, and nostalgia. It emphasizes perspectives and areas that most directly concern my own interests or work, including comparative methods and an awareness of how genres may be reclassified over time (especially the relationship between folk arts and popular culture, in other words, how art functions before and after mass distribution). The course will address the question of how the multiplicity of Arab folk traditions contribute to societies and cultures in North Africa and the Middle East. This course is intended for an upper-division undergraduate level, and is based on a fourteen- week semester. The course is interdisciplinary, and could be adapted to meet objectives of a variety of departments, such as: Anthropology, Comparative Literature, Music (ethnomusicology), and Middle Eastern Studies. In addition, students of Arabic could be encouraged and challenged to investigate primary sources in the original Arabic, depending on their language level, in or out of class. Indeed, the course could be conducted in Arabic in a university with strong Arabic Studies, such as The University of Texas at Austin. However, no knowledge of Arabic will be assumed, in the interest of a syllabus that could be applicable to the widest range of university contexts. I have chosen to begin directly with case studies. For an approach more located in a particular discipline, I could begin with a week on theory or history of this course material in the field.
    [Show full text]
  • Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin
    Sounding the Cape, Music, Identity and Politics in South Africa Denis-Constant Martin To cite this version: Denis-Constant Martin. Sounding the Cape, Music, Identity and Politics in South Africa. African Minds, Somerset West, pp.472, 2013, 9781920489823. halshs-00875502 HAL Id: halshs-00875502 https://halshs.archives-ouvertes.fr/halshs-00875502 Submitted on 25 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Sounding the Cape Music, Identity and Politics in South Africa Denis-Constant Martin AFRICAN MINDS Published by African Minds 4 Eccleston Place, Somerset West, 7130, South Africa [email protected] www.africanminds.co.za 2013 African Minds ISBN: 978-1-920489-82-3 The text publication is available as a PDF on www.africanminds.co.za and other websites under a Creative Commons licence that allows copying and distributing the publication, as long as it is attributed to African Minds and used for noncommercial, educational or public policy purposes. The illustrations are subject to copyright as indicated below. Photograph page iv © Denis-Constant
    [Show full text]
  • “Indépendance Cha Cha”: African Pop Music Since the Independence Era, In: Africa Spectrum, 45, 3, 131-146
    Africa Spectrum Dorsch, Hauke (2010), “Indépendance Cha Cha”: African Pop Music since the Independence Era, in: Africa Spectrum, 45, 3, 131-146. ISSN: 1868-6869 (online), ISSN: 0002-0397 (print) The online version of this and the other articles can be found at: <www.africa-spectrum.org> Published by GIGA German Institute of Global and Area Studies, Institute of African Affairs in co-operation with the Dag Hammarskjöld Foundation Uppsala and Hamburg University Press. Africa Spectrum is an Open Access publication. It may be read, copied and distributed free of charge according to the conditions of the Creative Commons Attribution-No Derivative Works 3.0 License. To subscribe to the print edition: <[email protected]> For an e-mail alert please register at: <www.africa-spectrum.org> Africa Spectrum is part of the GIGA Journal Family which includes: Africa Spectrum • Journal of Current Chinese Affairs • Journal of Current Southeast Asian Affairs • Journal of Politics in Latin America • <www.giga-journal-family.org> Africa Spectrum 3/2010: 131-146 “Indépendance Cha Cha”: African Pop Music since the Independence Era Hauke Dorsch Abstract: Investigating why Latin American music came to be the sound- track of the independence era, this contribution offers an overview of musi- cal developments and cultural politics in certain sub-Saharan African coun- tries since the 1960s. Focusing first on how the governments of newly inde- pendent African states used musical styles and musicians to support their nation-building projects, the article then looks at musicians’ more recent perspectives on the independence era. Manuscript received 17 November 2010; 21 February 2011 Keywords: Africa, music, socio-cultural change Hauke Dorsch teaches cultural anthropology at Johannes Gutenberg Uni- versity in Mainz, Germany, where he also serves as the director of the Afri- can Music Archive.
    [Show full text]
  • Artsmart AZA Press Release 2015-16
    TANDY BEAL & COMPANY • tandybeal.com• [email protected] FOR IMMEDIATE RELEASE: December 2015 MEDIA CONTACT: Jennifer Radakovich (734) 775-0269 AZA – Music of Morocco! Saturday, Dec 12th Dec 12, 2015 Tandy Beal & Company’s ArtSmart Family Concert Series continues with highly acclaimed musical group…AZA! Introduce your family to the Arts! Tandy Beal & Company's ArtSmart Family Concert Series features award-winning artists in circus, music and dance and offers high-quality, interactive and affordable monthly concerts for families in downtown Santa Cruz! For December’s ArtSmart concert, we feature highly acclaimed musical group, AZA! AZA unites traditional Tamazight (Berber) music, indigenous to the Atlas Mountains of Morocco, with the global influences of its diverse members. Evocative of Saharan- African blues, yet with an original style that truly defies categorization, AZA’s stirring performances feature deep, danceable rhythms, intricate string melodies, and soaring, soulful vocals. Visually dynamic and engaging performers, AZA has been inspiring international audiences for nearly seven years. Founding members Fattah Abbou and Mohamed Aoualou are Berbers native to the High Atlas mountain region of Morocco, where they played and studied music for over twenty- five years, and are recognized as master musicians. Mohamed plays guitar, oud, percussion and is a prolific songwriter with a gripping vocal style that helps define the dynamic energy of AZA. Fattah began playing at the age of seven and now plays banjo, lotar, oud, sintir, ribab, percussion and sings. He has received multiple grant awards for traditional arts and the preservation of indigenous culture. AZA’s endeavors are not limited to music.
    [Show full text]
  • Study Guide Acoustic Africa Wednesday, October 18, 2006, at 11:00 A.M
    06/07 Study Guide Acoustic Africa Wednesday, October 18, 2006, at 11:00 a.m. Zellerbach Hall SchoolTime About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. In 2005/06 Cal Performances celebrates 100 years on the UC Berkeley Campus. Our SchoolTime program cultivates an early appreciation for and understanding of the performing arts amongst our youngest audiences, with hour-long, daytime performances by the same world-class artists who perform as part of the main season. Teachers have come to rely on SchoolTime as an integral and important part of the academic year. Sponsors of Cal Performances Education and Community Programs Cal Performances’ Education and Community Programs are supported by Berkeley Community Fund, California Arts Council, California Savings Bank, Citigroup Foundation, City of Berkeley Civic Arts Program, East Bay Community Foundation, Robert J. and Helen H. Glaser Family Foundation, Walter & Elise Haas Fund, McKesson Foundation, National Endowment for the Arts, The San Francisco Foundation, The Wallace Foundation, Western States Arts Federation, The Zellerbach Family Foundation. II | SchoolTime Gamelan Sekar Jaya, Kali Yuga Welcome October 1, 2006 Dear Educator and Students, Welcome to SchoolTime! On Wednesday, October 18, 2006, at 11:00 a.m., you will attend the SchoolTime performance Acoustic Africa at Zellerbach Hall on the UC Berkeley campus.
    [Show full text]
  • Memory, Power and Knowledge in African Music and Beyond
    MEMORY, POWER AND KNOWLEDGE IN AFRICAN MUSIC AND BEYOND June 10–13, 2015 Dhow Countries Music Academy, Zanzibar, Tanzania Dhow Countries Music Academy Zanzibar University of University of African Music Center for Cape Coast Maiduguri Archives World Music TABLE OF CONTENTS MEMORY, POWER AND KNOWLEDGE IN AFRICAN MUSIC AND BEYOND 3 Introduction This conference seeks to explore, both from historical and contemporary perspectives, the nexus between memory, power, and knowledge in the music of Africa and its 4 Words of Welcome various diasporas. These explorations encompass the history and politics of sound Center for World Music, Hildesheim archiving and scholarly practices as much as intersections of memory, power, and Dhow Countries Music Academy, Zanzibar knowledge in musical performance itself. The contexts within which we would like Volkswagen Foundation to examine this broader field include, but are not limited to, the realms of popular University of Cape Coast culture, politics, religion, as well as education. Throughout history, music has been University of Hildesheim University of Maiduguri a crucial means in the representation of power and status as well as the negotiation African Music Archives, Mainz of individual and collective identities. As a repository of knowledge, musical practice often functions as a form of social memory, which we understand not as 12 Conference Programme a static entity but as a dynamic field within shifting power relations on both the local and translocal level. Media technology has, over more than a century now, played an 20 The Zanzibar Taraab/Kidumbak Ensemble important role in the reconfiguration of this nexus, and particularly the rise of 21 Keynote Abstracts electronic media in recent years has changed and accelerated its dynamics.
    [Show full text]