Bulletin of the ICTM Vol. 144 (October 2020)
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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. -
Dialogue in Music Project: Africa Meets North America 3Rd International Symposium and Festival
Dialogue in Music Project: Africa Meets North America 3rd International Symposium and Festival www.amna.ethnomusic.ucla.edu presented by The UCLA Herb Alpert School of Music, Department of Ethnomusicology October 22-25, 2009 Schoenberg Music Building University of California, Los Angeles (UCLA) Contents General Information ..........................................................................................................................3 Conference Schedule..........................................................................................................................5 Thursday, 22 October 2009..................................................................................................................5 Friday, 23 October 2009.......................................................................................................................7 Saturday, 24 October 2009...................................................................................................................9 Sunday, 25 October 2009...................................................................................................................11 Monday, 26 October 2009..................................................................................................................13 Festival Concerts Program..............................................................................................................14 Thursday, 22 October 2009: Art Music, Blues, and Drumming....................................................15 Concert 1: -
The Concept of African Pianism Emmanuel Boamah1 Abstract
The Concept of African Pianism Emmanuel Boamah1 Abstract African Pianism is a style of piano music which employs techniques and styles used in the performance of African instrumental traditional songs and African popular music. The percussive and melodic capabilities of the piano make it an ideal medium for expressing the rhythmic and percussive features of African music. Deploying African traditional idioms in compositions using the concept of African pianism is however only one aspect of creating an art based on the fundamental principles which are essential to its well being. The paper discusses the various techniques and styles composers employ in composing music using the concept of African Pianism. Definition and Scope African Pianism describes the approach of composition that combines African elements and western elements for the piano. A composition can therefore be based on African traditional vocal music or instrumental music. The concept also deals with the keyboard music of African art composers. Works by art music composers who are not Africans, but who have learnt to use idioms in African music can be included in African Pianism. The need to write African music for the piano arises in view of evidence that the piano is a more developed musical instrument and offers greater opportunity to the composer than was realised. The percussive and melodic capabilities of the piano make it a most ideal medium for expressing the rhythmic and percussive features of African music. Akin Euba, who coined this concept African Pianism in an article entitled “Traditional Elements as the basis of New African Art Music”, writes: 1Emmanuel Boamah is Lecturer and Head of the Department of Music, School of Performing Arts, University of Ghana. -
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 -
'If You Don't Sing, Friends Will Say
‘If You Don’t Sing, Friends Will Say You are Proud’: How and Why Kam People Learn to Sing Kam Big Song * Catherine Ingram The 2.5 million Kam people, known in Chinese as dong zu 侗族 (the character zu, meaning ‘group,’ is appended to the names of all Chinese ethnic groups), are a southern Chinese people designated by the majority Han Chinese as one of China’s fifty-five so-called ‘minorities’.1 Most Kam people live in small towns and villages in the mountainous region of southwestern China that constitutes the borders of Guizhou, Guangxi and Hunan provinces (see Figures 1a and 1b). Life in these villages is based around subsistence agriculture, and many of the tall mountain slopes—as well as the valleys—are covered with terraced rice fields. The research presented in this article was undertaken mostly in Sheeam (in Chinese, Sanlong 三龙), a Kam region about 35 kilometres south-southwest of the centre of Liping county (黎平县) in southeastern Guizhou Province, and one of the most important areas where Kam ‘big song’ is still sung. Jai Lao, one of the two large villages in Sheeam, was my home and fieldwork base from December 2004 to March 2006 and from February to July 2008.2 The residents of Sheeam speak a version * I was privileged to be invited to participate in, research and record Kam music-making, and would like to thank once again the many Kam people who generously shared their knowledge of Kam culture and their remarkable singing traditions. Special thanks to Wu Meifang, Wu Pinxian, Wu Xuegui and Wu Zhicheng; and to Nay Liang-jiao (Wu Xueyun) and all her family. -
Ethnic Minority Development Plan
Public Disclosure Authorized World Bank Financed Guiyang Rural Road Project Public Disclosure Authorized Ethnic Minority Development Plan Public Disclosure Authorized World Bank Financed Guiyang Transport Project Management Office Public Disclosure Authorized August, 2013 1 Abbreviations DPs Displaced Persons EMDP Ethnic Minority Development Plan GNP Gross National Product IMO Independent Monitoring Organization OP Operational Policy PAD Project Appraisal Document PAPs Project Affected Persons PDI Project Design Institute PFSR Project Feasibility Study Report PMO Project Management Office PPAs Project Affected Areas PRO Project Resettlement Office PSA Project Social Assessment PSR Project Supervision Report RAP Resettlement Action Plan RO Resettlement Office RPF Resettlement Policy Framework SAT Social Assessment Team 2 Contents 1 Ethnic Minority Development Plan Preparation ........................................... 5 1-1 Major Findings of Social Assessment for the Project ............................................. 5 1-2 the Objectives of EMDP................................................................................................... 9 1-3 Method and Procedures for EMDP Preparation ......................................................... 9 2 Brief Description of Ethnic Minorities in PAAs ........................................ 11 2-1 Distribution of Ethnic Minorities in PAAS ................................................................ 11 2-2 Customs and Culture of Ethnic Minorities in PPAs ................................................ -
China's Kam Minority
China’s Kam Minority: A Short Bibliographic Outline of Kam-Related Research Materials in the University of Melbourne Library [1] Catherine Ingram [2] PhD candidate, Music/Asia Institute, University of Melbourne While China’s Kam minority (who are known in Chinese as Dongzu 侗族) and their remarkable cultural traditions are not yet well known in the English-speaking world, they may be familiar to anyone who has followed UNESCO’s most recent recognition of Chinese Intangible Cultural Heritage, or watched China’s hugely popular national “Youth Song Contest” (in Chinese, qingge sai 青歌赛), or travelled in more remote regions of southwestern China. In 2009, the Kam singing tradition known in English as “big song” was placed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity; [3] since 2008 Kam singers have increasingly featured amongst the medal winners of that nationally televised song competition; [4] and tourism in rural Kam regions—including Kam singing performances for tourists—have been steadily growing in popularity since the 1980s. Although research into these and other issues relating to Kam people is modest in size, it has also been slowly increasing—albeit almost exclusively produced in Chinese. In the six years of research I conducted for my recently submitted doctorate, I focussed upon the contemporary face of Kam traditional Kam singing—and particularly upon the current situation regarding the Kam big song tradition. In the process of conducting this research I spent more than twenty months resident in rural Kam areas of southeastern Guizhou, where I was invited to learn to sing Kam song and to participate in many Kam song performances, and I was also very fortunate to have been able to access the excellent collection of Kam research materials now held in the University of Melbourne Library. -
A Sample of Folk Poetry of the Sui: the Volume of Ancestor Worship
Kamil Burkiewicz* A SampleVolume of of Folk Ancestor Poetry Worship of the Sui: The Volume of Ancestor Worship DOI: http://dx.doi.org/10.12775/LC.2021.020 145 2(38) 2021 henever bizarre or seemingly supernatural events occur, whenever a family faces Whenever Wbizarre or seemingly supernatural events occur, whenever a serious problems, calamities, or quite the opposite, plans a wedding, welcomes a new child, prepares to undertake a specific activity such as building a house, its members, if only to remain loyal to traditional customs, try to seek guidance and support from their ancestors. * PhD, an assistant professor at the Institute of Oriental Studies, Adam Mickiewicz University in Poznań. His research interests concern languages and cultures of ethnic minorities in China, especially the Sui people, as well as broadly understood sinological linguistics. E-mail: [email protected] | ORCID: 0000-0002-7839-1051. LITTERARIA COPERNICANA ISSNp 1899-315X 145–150 ss. The proper execution of a relevant ritual is, however, far beyond the knowledge accessible to ordinary people and requires the use of services provided by shamans known as [pju¹ ȶaːi³]. The most capable are also referred to as ʔ[ ai³ haːŋ⁶ le¹], i.e. those who have mastered [le¹ sui³] – the original writing system and the divination books written using it. When invited to perform a ritual of ancestor worship, a shaman starts his preparations by setting up sacrificial goods and the necessary utensils. Right in front of the [ɕi³ qoŋ⁵ pu4] – a special place in every family’s home dedicated to male forebears – a long table is placed with one bench on both sides. -
1 Participants of the Forum
Participants of the Forum Kofi Agawu Mathew Lavoie Midawo Gideon Foli Alorwoyie David Locke Kwasi Ampene James Makubuya Lois Anderson Joseph Mbele Naomi Andre Eddie Meadows Kelly M. Askew Josephine Mokwunyei Daniel Avorgbedor Lester Monts Gregory Barz Anicet Mundundu Katherine Brucher Robert Newton Mellonee Burnim Mbala Nkanga Eric Charry J.H. Kwabena Nketia Jacqueline Cogdell DjeDje Alex Perullo Akin Euba Michel Rahfaldt Andy Frankel Daniel Reed Sharon Friedler Leo Sarkisian Steve Friedson Martin Scherzinger Frank Gunderson Cynthia Schmidt Isaac Kalumbu Titos Sompa Jean Kidula Mark Allen Stone Amandina Lihamba Ruth Stone Cynthia Tse Kimberlin Kenichi Tsukada Zabana Kongo Peter Wekesa Jimmy Khwambe (Dludlu) Chris Waterman 1 2 Acknowledgements Special thanks go to Lester Monts for his intellectual insights while shaping this forum, as well as for the generous monetary support provided by his office; Cynthia Schmidt for her photographs; my wife Koga Gunderson for her arduous transcription of these sessions, and Mellissa Beck for her supplemental transcription help; James Jackson at the Center for Afro- American and African Studies for his funding support; UM graduate students Joshua Tucker, Umi Vaughan, Julia Suzanne Byl, Michel Rahfaldt, & Katherine Brucher for their help in recording and taking notes at these sessions, Kelly Askew and Mathew Lavoie for their helpful discussions; Gretchen Weir and Laura San Facon for their planning and logistical support; and to J.H. Kwabena Nketia for his guidance throughout. 3 4 Foreword The U.S. Secretariat of the International Center for African Music and Dance at the University of Michigan hosted an international forum in Ann Arbor Michigan, April 6th through 9th, 2000. -
Newsletter- Broader Sense It Encompasses Review and Recognized Authority in Bailey, Derek
Vol. 1 Nos. 1-2 Published for the CIMA by the Music Research Institute, Richmond CA USA October 1999 Intercultural Musicology The Bulletin of the Centre for Intercultural Music Arts, London, U.K. CIMA Council of Management Steven Stanton, Chair compositions in which elements of Akin Euba, Director Robert Kwami, Deputy Director non-Western traditional music are Lucy Duran Editorial Note combined with those of Western Maxine Franklin Susan Jackson art music require a scholarly Cynthia Tse Kimberlin approach which integrates John Mayer The aim of Intercultural Musicology techniques of ethnomusicology with Richard Nzerem Malcolm Troup is to provide a forum for discourse that those of historical musicology. Mike Wright includes the development of a theoretical framework for the nascent The editors are particularly International Advisory Council field of intercultural musciology. interested in materials dealing with Charles Camilleri (Malta) S. A. K. Durga (India) interculturalism after 1950 and Samha El-Kholy (Egypt) This field includes the study of (a) welcome contributions that generate Cynthia Tse Kimberlin (USA) one’s own indigenous music culture Fernando Maglia (Argentina) discourse on the concept of Sun Xing-Qun (China) using techniques applicable to other intercultural musicology (e.g., Valerie Ross (Malaysia) music cultures (b) music cultures Klaus Hinrich Stahmer (Germany) research reports, previews and Justinian Tamusuza (Uganda) other than one’s indigenous culture (c) reviews of performances, notes on Mike Wright (U.K.) music created by combining elements the works of composers and from various cultures, and (d) other performers, biographical data on Co-Editors forms of intercultural activity, for Cynthia Tse Kimberlin & Akin Euba composers and performers, example, the study of performers who theoretical concepts bearing upon specialize in non-indigenous music creative methods in intercultural idioms. -
Bridging Musicology and Composition: Te Global Signifcance of Bartók’S Method a Symposium and Festival
Bridging Musicology and Composition: Te Global Signifcance of Bartók’s Method A Symposium and Festival eynote Speaker !rofessor Dr# $%szló Vikárius "irector of the Bartók Archi)e Budapest Hungary 12 to 14 August. 2010 Churchill College, Cambridge, England 1rganized by the Centre for Intercultural Musicology at Churchill College "r# Akin Euba. Director "r# Margit Ha3elleck and Dr# Philip Tompson, Symposium and Festi)al Co5directors Bridging Musicology and Composition: Te Global Signifcance of Bartók’s Method A Symposium and Festival (ckno3ledgement Te Committee of Management of the Centre for Intercultural Musicology at Churchill College gratefully ackno3ledges the generous fnancial contributions of the Uni)ersity of Pittsburgh and of Churchill College to the 2/+/ symposium and festi)al# It is very unlikely that we would ha)e been able to proceed with the e)ent without these contributions# 2n preparing for the e)ent I was assisted by a small committee at the Uni)ersity of Pittsburgh# T3o members of the committee, Dr# Phil Tompson and Dr# Margit Ha3elleck agreed to take over the running of the e)ent as co5directors# I am deeply grateful to both of them for relie)ing me of the burden of running the symposium and festi)al and for generously making their expertise a)ailable. 2 would like to thank Eric Riemer for his role in setting up the website and Dorothy Shallenberger for )arious forms of assistance with the preparations for the symposium and festi)al# 2 am very grateful to the C2M(CC Committee of Management for their support and their understanding of my tardiness at a particularly di:cult period. -
The Multilingual Assessment Instrument for Narratives (MAIN): Adding Kam to MAIN
The Multilingual Assessment Instrument for Narratives (MAIN): Adding Kam to MAIN Wenchun Yang The Hong Kong Polytechnic University Angel Chan The Hong Kong Polytechnic University Natalia Gagarina Leibniz-Zentrum Allgemeine Sprachwissenschaft (ZAS) This paper introduces the Kam version of the Multilingual Assessment Instrument for Narratives (LITMUS-MAIN). Kam is a minority language in southern China which belongs to the Kam-Tai language family and is spoken by the Kam ethnic minority people. Adding Kam to MAIN not only enriches the typological diversity of MAIN but also allows researchers to study children’s narrative development in a sociocultural context vastly distinctly different from the frequently examined WEIRD (Western, Educated, Industrialized, Rich, and Democratic) societies. Moreover, many Kam- speaking children are bilingual ethnic minority children who are “left-behind” children living in Mainland China, growing up in a unique socio-communicative environment. 1 Introduction Bilingualism is extensive all over the world. It has been estimated that more than half of the world’s population is bilingual (Grosjean, 2010). One long-standing challenge faced by researchers and practitioners working with bilingual children has been differentiating children with and without Developmental Language Disorder (DLD). Recently, the European Cooperation in Science and Technology COST Action IS0804 “Language Impairment in a Multilingual Society: Linguistic Patterns and the Road to Assessment” (2009–2013) was carried out to address this challenge (see Armon-Lotem, de Jong & Meir, 2015). Its aim was to develop appropriate tools to assess the linguistic and cognitive abilities of bilingual children ZAS Papers in Linguistics 64, 2020: 147 – 151 Wenchun Yang, Angel Chan & Natalia Gagarina with and without language impairment speaking different pairs of languages.