Lagos Roots Fuji Juju and Apala Transcript
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1 Literaturliste Für „Einführung in Die Moderne Afrikanische Musik“
Literaturliste für „Einführung in die moderne afrikanische Musik“ Dozent: Dr. Wolfgang Bender Inhaltsverzeichnis: 1. Allgemeiner Teil: 1. Theorie S. 2 2. Produktion, Distribution & Archivwissenschaften S. 3 3. Afrikanische Musik allgemein S. 3 4. Moderne afrikanische Musik allgemein S. 5 5. Traditionelle afrikanische Musik allgemein S. 7 6. Weltmusik S. 8 7. Musik aus der Diaspora S. 9 8. Bibliographie S. 11 9. Zeitschriften S. 11 2. Länderspezifischer Teil: 10. Nordafrika S. 13 11. Westafrika S. 14 12. Frankophones Westafrika S. 14 13. Anglophones Westafrika S. 17 14. Zentralafrika S. 22 15. Horn von Afrika S. 25 16. Ostafrika S. 26 17. Süd-Zentralafrika S. 28 18. Südafrika S. 29 19. Lusophones Afrika S. 31 20. Inseln S. 32 1 1. Theorie: Agawu, Kofi: Representing African Music: Postcolonial notes, 2003 queries, positions. New York & London: Routledge Bröcker, Marianne (Hg.): Musik und Religion. 1992 Reihe: Bericht über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music; Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Musik und Symbol. Musik und Region. 1998 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Bröcker, Marianne (Hg.): Traditionelle Musik und ihre Funktion. 2001 Reihe: Berichte über die Jahrestagung des Nationalkomitees der Bundesrepublik Deutschland im International Council for Traditional Music, Universitätsbibliothek Bamberg, ICTM Nettl, Bruno: The Concept of Preservation in 1985 Ethnomusicology. In: Jackson, Irene V. (Hg.): More than Drumming. Essays on African and Afro-Latin American Music and Musicians. Westport: Greenwood Press Simon, Arthur: Ethnomusikologie: Aspekte, Methoden und 2008 Ziele. Berlin: Simon Verlag 2 2. -
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CONTRIBUTIONS OF YORUBA MUSICIANS TO THE DEVELOPMENT OF NIGERIAN POPULAR MUSIC Funso A. Fagbile and Blessing A. Amole Introduction Nigerian music as it is today has produced many kinds of art, religious, folk and popular music, some of which are known to be spread around the world. Ogisi (2005) classified Nigerian music into traditional, art, religious and popular music. He stressed further that traditional music is ethnic based and integral to culture, art music is contemplative music for aesthetic enjoyment, religious music is performed for religious activities in and outside the religious centers such as church, while popular music is essentially entertainment music. Nigerian popular music is further subdivided into two types: those in which Islamic musical element fused with African traditional music and those in which African idioms fused with elements of western music such as juju and highlife (Euba, 1989:14). Nigerian popular music is one of the least researched areas of the various types of Nigerian music and as such different areas such as contributions of Yoruba musicians in the area of popular music are yet to be addressed. Therefore, this paper tries to look into the area of Juju and Fuji music, their exponents, life history and contributions. Popular music in many African countries have seen turbulence and violence during the transition from a diverse region of folk cultures to a modern nation-state. Nigeria has more difficulty than most African countries in forging a popular cultural identity from the diverse people of the countryside. From its beginnings in the streets of Lagos, popular music in Nigeria had long been an integral part of the field of African pop, bringing in influences and instruments from many ethnic groups, most prominently including the Yoruba. -
Contemporary Nigerian Popular Music: a Menace to National Development
Journal of Arts & Humanities Contemporary Nigerian Popular Music: A Menace to National Development Ogunrinade D.O.A1 ABSTRACT There is no gainsaying that most of the recent forms of contemporary popular music produced, packaged, made available for public consumption constitute grave danger and serious threat to moral uprightness in Nigerian society. This has exposed the Nigerian society to a wide variety of insecurity and violence. This is evident as seen from series of moral decadence and dissipation that infiltrated the lives of the citizenry - especially the youths (the leaders of tomorrow) ranging from, sexual abuse, money mongering, indiscipline, examination malpractice and indecent dressing to mention but a few. Music is a powerful tool and a force for mobilization which brings about either reformation or deformation of character due to the type of rhythm, melody, harmony and principally the lyrics of the songs. This paper examines the new trend of contemporary popular music in Nigeria with a view to assess its negative and pessimistic impacts on the character of the citizenry in Nigerian society. Live performances of contemporary popular music were observed and audio and video tape materials relating to the said music were also analyzed based on their educational and moral values of such songs. It was discovered that many of contemporary popular music as we have it today in Nigeria communicates vulgarity and coarseness to the listeners and this poses a lot of negative effects on the attitude of the youths. Musicians employ indecent words to attract the youth thus creating negative influence on the character of the leaders of tomorrow (the youth) to engage in various debaucheries. -
Halifu Osumare, the Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 Pp., $85.00 (Hardcover)
International Journal of Communication 7 (2013), Book Review 1501–1504 1932–8036/2013BKR0009 Halifu Osumare, The Hiplife in Ghana: West Africa Indigenization of Hip-Hop, New York, NY: Palgrave Macmillan, 2012, 219 pp., $85.00 (hardcover). Reviewed by Angela Anima-Korang Southern Illinois University Carbondale Ghana’s music industry can be described as a thriving one, much like its film industry. The West African sovereign state is well on its way to becoming a force to reckon with on the international music market. With such contemporary rap artists as Sarkodie, Fuse ODG (Azonto), Reggie Rockstone, R2Bs, and Edem in its fold, Ghana’s music is transcending borders and penetrating international markets. Historically, Ghana’s varying ethnic groups, as well as its interaction with countries on the continent, greatly influences the genres of music that the country has created over the years. Traditionally, Ghana’s music is geographically categorized by the types of musical instruments used: Music originating from the North uses stringed instruments and high-pitched voices; and music emanating from the Coast features drums and relatively low-pitched voice intermissions. Up until the 1990s, “highlife” was the most popular form of music in Ghana, borrowing from jazz, swing, rock, soukous, and mostly music to which the colonizers had listened. Highlife switched from the traditional form with drums to a music genre characterized by the electric guitar. “Burger-highlife” then erupted as a form of highlife generated by artists who had settled out of Ghana (primarily in Germany), but who still felt connected to the motherland through music, such as Ben Brako, George Darko, and Pat Thomas. -
FOR CODESRIA Anyidoho/Madame Virginie Niang Sept 17-19
1 THE IMPORTANCE OF AFRICAN POPULAR MUSIC STUDIES FOR GHANAIAN/AFRICAN STUDENTS by John Collins INTRODUCTION A) The role of popular music and mass entertainment in the independence struggle and the consequent importance of local popular performance in the vision of pioneer African leaders: i.e. a mass music for a mass party (eg highlife as the product of the ‘veranda boy’ class). Thus the state support of popular as well as traditional and western type art/religious music sectors by the pioneering leaders Nkrumah, Nyere, Sekou Toure, President Keita. Their approach can therefore be considered as tri-musical B) The failure of this tri-musical approach being transmitted into the Ghanaian tertiary education system. This became rather bi-musical; i.e. the training of students only in traditional African and imported western art idioms C) Some reasons for this intellectual university hostility to popular music/culture 1) imported elitist, Marxist and Frankfurt School ideas concerning the ephemeral, frivolous, low status and inconsequential nature (cf. high art) of popular music and performance. 2) Residual African traditional attitudes towards professional musicians. Low regard and apprehension of such indigenous professional traditional groups as West African jalis/griots, praise drummers and goje players D) The negative consequences of the narrow bi-musical approach has effected both the university students and the evolution of local musical forms such as highlife music and the concert party. It fosters elitist attitudes by students who do not consider the creative role of the masses and intermediate classes important in musical development. It has in a lack of intellectual input into local popular music: few books and biographies on the topic, no intellectual input into it. -
Free Fuji Music Download of Alhaji Wasiu Ayinde Marshal Wasiu Ayinde Marshall Alhaji Ayinde Marshall
free fuji music download of alhaji wasiu ayinde marshal wasiu ayinde marshall alhaji ayinde marshall. Photo Credit: Saheed Ojubanire More than a year after the release of his hit album titled: "Money Making Machine" (MMM), Fuji music star, Alhaji Wasiu Alabi Odetola popularly known as Pasuma, would soon be releasing a follow-up album, after all. 1 Fuji Music Star Who Has Not Paid Homage To NURTW Topshot Turned King, Jafo Authority. Photo Credit: blackboxnigeria.com His Royal Majesty, Oba Sulaiman Adeshina otherwise known as Jafo Authority, or simply Jafo, was installed eight months ago as the Oniba of Iba in Lagos State. Iba Kingdom is within Iba Local Council Development Area (LCDA) on the outskirts of the Centre of Excellence. Check Out The Year 5 Popular Fuji Stars Visited Saudi Arabia To Perform Hajj (Photos) Hajj is one of the five pillars of Islam. Every year, Muslims around the world travel to the Muslims' holy land, Saudi Arabia to perform Hajj, Many Celebrities in Nigeria who are Muslims have visited Saudi Arabia to perform Hajj and Umrah. In this article, Engrlas bring you five popular Fuji Stars that have visited Saudi Arabia to perform Hajj and the year they visited it. (Opinion): As An Elected Council Chairman In Lagos, Will Bayo Olasoju Still Remain K1's Manager? On Saturday, 24th July, 2021, Hon. Bayo Olasoju who happens to be the Manager to Fuji music legend, Alhaji Wasiu Ayinde Anifowoshe Marshal better known as K1, was elected as the Executive Chairman of Isolo Local Council Development Area (LCDA) in Lagos State. -
Foregrounding Female Agency in the Dance Culture of Nigeria
WHAT I DO WHEN I DANCE: FOREGROUNDING FEMALE AGENCY IN THE DANCE CULTURE OF NIGERIA Oladoyin Abiona A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2021 Committee: Angela Nelson, Advisor Jeremy Wallach Rahdika Gajjala © 2021 Oladoyin Abiona All Rights Reserved iii ABSTRACT Angela Nelson, Advisor Scholarship on female representations in hip hop has been predominantly premised on the sexualization of the female body. By focusing mainly on this singular aspect of the genre, we reduce the whole essence of womanhood in the industry to such interpretations. The limited scope of such discussions deprives the women of opportunities to tell their own stories of what they do when they dance. Seeing the cultural significance of dance as a form of popular culture in the Nigerian context, this essay, from a feminist perspective, closes this gap by engaging in a qualitative exploration of the lives of three female dancers in Nigeria telling their stories through dance. They are Kaffayat Oluwatoyin Shafau (Kaffy), Odumewu Debbie (Debbiepinkie), and Usiwo Orezinena Jane (Janemena). Exploring their social media archives, interviews granted to TV stations and a published autobiography “Alajoota” by Kaffy, this essay contextualizes and complicates the interpretations of sexualization in the Nigerian hip hop dance industry. Through dance Nigerian women performers are able to negotiate the heavily male-dominated hip hop scene. For them, dance is a coping strategy, a profession, a space for redefining self and embracing sexuality and femininity, and a form of youthful identity and inclusion. -
Identity, Nationalism, and Resistance in African Popular Music
Instructor: Jeffrey Callen, Ph.D., Adjunct Faculty, Department of Performing Arts, University of San Francisco SYLLABUS ETHNOMUSICOLOGY 98T: IDENTITY, NATIONALISM AND RESISTANCE IN AFRICAN POPULAR MUSIC How are significant cultural changes reflected in popular music? How does popular music express the aspirations of musicians and fans? Can popular music help you create a different sense of who you are? Course Statement: The goal of this course is to encourage you to think critically about popular music. Our focus will be on how popular music in Africa expresses people’s hopes and aspirations, and sense of who they are. Through six case studies, we will examine the role popular music plays in the formation of national and transnational identities in Africa, and in mobilizing cultural and political resistance. We will look at a wide variety of African musical styles from Congolese rumba of the 1950s to hip-hop in a variety of African countries today. Readings: There is one required book for this course: Music is the Weapon of the Future by Frank Tenaille. Additional readings are posted on the Blackboard site for this class. Readings are to be done prior to the week in which they are discussed Listenings: Listenings (posted on Blackboard) are to be done prior to the week in which they are discussed. If entire albums are assigned for listening, listen to as much as you have time for. The Course Blog: The course blog will be an important part of this course. On it you will post your reactions to the class listenings and readings. It also lists internet resources that will prove helpful in finding supplemental information on class subjects and in preparing your final research project. -
The Construction and Negotiation of Identity in Ajegunle Raga
“In the Ghetto, Life No Easy For We”: The Construction and Negotiation of Identity in Ajegunle Raga by Ogunbowale Mopelolade Oreoluwa A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Master of Arts in History and International Development Guelph, Ontario, Canada © Ogunbowale Mopelolade Oreoluwa, June, 2012 ABSTRACT “In the Ghetto, “Life No Easy For We”: The Construction and Negotiation of Identity in Ajegunle Raga Ogunbowale Mopelolade Advisor: University of Guelph, 2012 Professor F.J Kolapo This thesis is an investigation into the historical evolution of Ajegunle Raga, a reggae form developed within an urban ghetto in Lagos called Ajegunle and the construction and negotiation of identities therein. The research further argues that Ajegunle Raga is a home- grown oppositional music subculture that draws inspiration from diasporic musical subcultures like Reggae and Hip Hop but retains a genuine representation of Ajegunle in its tales of survival, poverty, marginalization and expressions of creativity within the ambience of the music. Figure 1: Map of Lagos showing Ajegunle and its environs. Used with permission from Odunuga Shakirudeen of Department of Regional and Urban Planning, University of Lagos, Nigeria. iii ACKNOWLEDGEMENTS I would like to appreciate all those that have contributed immensely to making this project a success. First of all, I thank God for the inspiration, strength and determination to complete this project. I sincerely want to appreciate my dad, Lanre Ogunbowale, my mum, Theresa Tokubo Koya and my sisters, Tobi and Busola Ogunbowale for always motivating and encouraging me. I cherish your love, support and friendship and whatever I do is to make you all happy. -
LCGFT for Music Library of Congress Genre/Form Terms for Music
LCGFT for Music Library of Congress Genre/Form Terms for Music Nancy Lorimer, Stanford University ACIG meeting, ALA Annual, 2015 Examples Score of The Four Seasons Recording of The Four Seasons Book about The Four Seasons Music g/f terms in LCSH “Older headings” Form/genre term Subject heading Operas Opera Sacred music Church music Suites Suite (Music) “Newer headings” Genre/form term Subject heading Rock music Rock music $x History and criticism Folk songs Folk songs $x History and criticism Music g/f terms in LCSH Form/genre term Children’s songs Combined with demographic term Buddhist chants Combined with religion term Ramadan hymns Combined with event term Form/genre term $v Scores and parts $a is a genre/form or a medium of performance $v Hymns $a is a religious group $v Methods (Bluegrass) $a is an instrument; $v combines 2 g/f terms Genre/form + medium of performance in LCSH Bass clarinet music (Jazz) Concertos (Bassoon) Concertos (Bassoon, clarinet, flute, horn, oboe with band) Overtures Overtures (Flute, guitar, violin) What’s wrong with this? Variations in practice (old vs new) Genre/form in different parts of the string ($a or $v or as a qualifier) Demographic terms combined with genre/form terms Medium of performance combined with genre/form terms Endless combinations available All combinations are not provided with authority records in LCSH The Solution: LCGFT + LCMPT Collaboration between the Library of Congress and the Music Library Association, Bibliographic Control Committee (now Cataloging and Metadata Committee) Genre/Form Task Force Began in 2009 LCMPT published February, 2014 LCGFT terms published February 15, 2015 567 published in initial phase Structure Thesaurus structure Top term is “Music” All terms have at least one BT, except top term May have more than one BT (Polyhierarchy) The relationship between a term and multiple BTs is “and” not “or” (e.g., you cannot have a term whose BTs are “Cat” and “Dog”) Avoid terms that simply combine two BTs (e.g. -
“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 -
Igbo Popular Music: a Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960
Trabzon University State Conservatory © 2017-2020 Volume 4 Issue 2 December 2020 Research Article Musicologist 2020. 4 (2): 248-261 DOI: 10.33906/musicologist.752422 CHINEDUM N. OSINIGWE Ajayi Crowther University, Nigeria [email protected] orcid.org/0000-0003-2101-1916 Igbo Popular Music: A Historical and Sociological Discourse with the Intent of Redefining Its Musical Typologies Since 1960 ABSTRACT In Nigeria, music making has been the most dynamic and evolving KEYWORDS process, involving all forms of musical genres - traditional, religious and popular. Music does have a significant cultural and sociological role, Igbo popular music especially among its many ethnic groups, whereby it is employed in Typologies every facet of their socio-cultural existence, from childhood to adulthood respectively. This study examines the Igbo popular musical Tagging genre in Nigeria through its creative forms (highlife and other Periodized hybridized forms), exhibited within the period from 1960 up to the present. The main objective of this study is to capture all musical Hybridized typologies within the period stipulated and tag them, using socio- cultural parameters, such as language, age, group philosophy, musical form, etc. It adopted descriptive and socio-musicological approaches in evaluating the musical trends through periodized format and also using the socio tagging system as its conceptual framework. The following musical typologies (Égwú Nñùtá, Égwú Ìkwǫkìlìkwǫ, Ēgwū O ̣̀gbàrà-o ̣̄fūù, and Égwú A gwàrà ǫgwa) were, however, discovered and tagged appropriately in the course of the study for easy reference, recognition, and for ethnic identity. Received: June 13, 2020; Accepted: December 11, 2020 Introduction Popular music is an extension of several musical typologies, which could be indigenous or acculturated, incorporating both local and foreign elements.