No. 148, 12 Janvier 2006
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
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 -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
Tuareg Music and Capitalist Reckonings in Niger a Dissertation Submitted
UNIVERSITY OF CALIFORNIA Los Angeles Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Ethnomusicology by Eric James Schmidt 2018 © Copyright by Eric James Schmidt 2018 ABSTRACT OF THE DISSERTATION Rhythms of Value: Tuareg Music and Capitalist Reckonings in Niger by Eric James Schmidt Doctor of Philosophy in Ethnomusicology University of California, Los Angeles, 2018 Professor Timothy D. Taylor, Chair This dissertation examines how Tuareg people in Niger use music to reckon with their increasing but incomplete entanglement in global neoliberal capitalism. I argue that a variety of social actors—Tuareg musicians, fans, festival organizers, and government officials, as well as music producers from Europe and North America—have come to regard Tuareg music as a resource by which to realize economic, political, and other social ambitions. Such treatment of culture-as-resource is intimately linked to the global expansion of neoliberal capitalism, which has led individual and collective subjects around the world to take on a more entrepreneurial nature by exploiting representations of their identities for a variety of ends. While Tuareg collective identity has strongly been tied to an economy of pastoralism and caravan trade, the contemporary moment demands a reimagining of what it means to be, and to survive as, Tuareg. Since the 1970s, cycles of drought, entrenched poverty, and periodic conflicts have pushed more and more Tuaregs to pursue wage labor in cities across northwestern Africa or to work as trans- ii Saharan smugglers; meanwhile, tourism expanded from the 1980s into one of the region’s biggest industries by drawing on pastoralist skills while capitalizing on strategic essentialisms of Tuareg culture and identity. -
3 & 4 Juillet 2021
3 & 4 JUILLET 2021 CORBEIL-ESSONNES À L’ENTRÉE DU SITE, UNE FÊTE POPULAIRE POUR D’UNE RIVE À L’AUTRE… RE-ENCHANTER NOTRE TERRITOIRE Pourquoi des « guinguettes » ? à établir une relation de dignité Le 3 juillet Le 4 juillet Parce que Corbeil-Essonnes est une avec les personnes auxquelles nous 12h 11h30 ville de tradition populaire qui veut nous adressons. Rappelons ce que le rester. Parce que les guinguettes le mot culture signifie : « les codes, Parade le long Association des étaient des lieux de loisirs ouvriers les normes et les valeurs, les langues, des guinguettes originaires du Portugal situés en bord de rivière et que nous les arts et traditions par lesquels une avons cette chance incroyable d’être personne ou un groupe exprime SAMBATUC Bombos portugais son humanité et les significations Départ du marché, une ville traversée par la Seine et Batucada Bresilienne l’Essonne. qu’il donne à son existence et à son place du Comte Haymont développement ». Le travail culturel 15h Pourquoi « du Monde » ? vers l’entrée du site consiste d’abord à vouloir « faire Parce qu’à Corbeil-Essonnes, 93 Super Raï Band humanité ensemble ». le monde s’est donné rendez-vous, Maghreb brass band 12h & 13h30 108 nationalités s’y côtoient. Notre République se veut fraternelle. 16h15 Aquarela Nous pensons que cela est On ne peut concevoir une humanité une chance. fraternelle sans des personnes libres, Association des Batucada dignes et reconnues comme telles Alors pourquoi une fête des originaires du Portugal dans leur identité culturelle. 15h « guinguettes du monde » Bombos portugais Association Scène à Corbeil-Essonnes ? À travers cette manifestation, 18h Parce que c’est tellement bon de c’est le combat éthique de Et Sonne faire la fête. -
A Word of Welcome from the Conference Organizer
A word of welcome from the conference organizer Dear conference delegates, Welcome to the Nordic Africa Days 2014 in Uppsala! The Nordic Africa Days (NAD) is the biennial conference which for the past six years has been organized rotatively in each of the Nordic countries. Already since 1969 the Nordic Africa Institute has organised this regular gathering of Nordic scholars studying African issues, and the event has for the past 15 years been formalized under the name of the Nordic Africa Days. The theme of this year’s conference is Misbehaving States and Behaving Citizens? Questions of Governance in African States. We are proud to host two distinguished keynote speakers, Dr Mo Ibrahim and Associate Professor Morten Jerven, addressing the theme from different angles in their speeches entitled “Why Governance Matters” and “Africa by Numbers: Knowledge & Governance”. The conference is funded by long-standing and committed support from the Swedish, Finnish, Norwegian and Icelandic governments. This year, we are also particularly pleased to be able to facilitate participation of about 25 researchers based on the African continent through a generous contribution from Sida (The Swedish International Development Cooperation Agency). Providing a platform for Nordic and African researchers to meet and cooperate at NAD is becoming ever more important, in addition to creating a prime meeting place for researchers on Africa within the Nordic region. The main conference venue is Blåsenhus, one of the newest campuses within Uppsala University, situated opposite the Uppsala Castle and surrounded by the Uppsala Botanical Gardens. This particular area of Uppsala has a historical past that goes back 350 years in time and offers many interesting places to visit. -
The Challenge of African Art Music Le Défi De La Musique Savante Africaine Kofi Agawu
Document généré le 30 sept. 2021 18:33 Circuit Musiques contemporaines The Challenge of African Art Music Le défi de la musique savante africaine Kofi Agawu Musiciens sans frontières Résumé de l'article Volume 21, numéro 2, 2011 Cet article livre des réflexions générales sur quelques défis auxquels les compositeurs africains de musique de concert sont confrontés. Le point de URI : https://id.erudit.org/iderudit/1005272ar départ spécifique se trouve dans une anthologie qui date de 2009, Piano Music DOI : https://doi.org/10.7202/1005272ar of Africa and the African Diaspora, rassemblée par le pianiste et chercheur ghanéen William Chapman Nyaho et publiée par Oxford University Press. Aller au sommaire du numéro L’anthologie offre une grande panoplie de réalisations artistiques dans un genre qui est moins associé à l’Afrique que la musique « populaire » urbaine ou la musique « traditionnelle » d’origine précoloniale. En notant les avantages méthodologiques d’une approche qui se base sur des compositions Éditeur(s) individuelles plutôt que sur l’ethnographie, l’auteur note l’importance des Les Presses de l’Université de Montréal rencontres de Steve Reich et György Ligeti avec des répertoires africains divers. Puis, se penchant sur un choix de pièces tirées de l’anthologie, l’article rend compte de l’héritage multiple du compositeur africain et la façon dont cet ISSN héritage influence ses choix de sons, rythmes et phraséologie. Des extraits 1183-1693 (imprimé) d’oeuvres de Nketia, Uzoigwe, Euba, Labi et Osman servent d’illustrations à cet 1488-9692 (numérique) article. Découvrir la revue Citer cet article Agawu, K. -
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. -
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. -
The Wordy Worlds of Popular Music in Eastern and Southern Africa
This article was downloaded by: [University of Liverpool] On: 06 January 2015, At: 06:11 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of Language, Identity & Education Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/hlie20 The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy Sinfree Makoni a , Busi Makoni a & Aaron Rosenberg a a Pennsylvania State University , Published online: 16 Feb 2010. To cite this article: Sinfree Makoni , Busi Makoni & Aaron Rosenberg (2010) The Wordy Worlds of Popular Music in Eastern and Southern Africa: Possible Implications for Language-in-Education Policy, Journal of Language, Identity & Education, 9:1, 1-16, DOI: 10.1080/15348450903476824 To link to this article: http://dx.doi.org/10.1080/15348450903476824 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
Music and Rights in West Africa
MUSIC AND RIGHTS IN WEST AFRICA A cross-curricular teaching resource exploring the power of music with ages 7–11 Photo: Aubrey Wade Teachers’ overview 9 Introduction 4 Aims 4 Structure 5 Differentiation 5 Taking it further with Oxfam Education 5 Taking it further with Oxjam 5 Global Citizenship 6 Knowledge and understanding 6 Skills 6 Values and attitudes 6 Detailed lesson outlines 7 Lesson 1: Introduction to West Africa 9 Lesson information 9 Activity outline 10 Pupil sheet: Maimouna’s story 11 Background notes for teachers 12 Lesson 2: Exploring West African music 9 Lesson information 13 Activity outline 14 Pupil listening sheet 17 Background notes for teachers 18 Lesson 3: Exploring rights 9 Lesson information 19 Activity outline 20–22 Pupil sheet: Oumou Sangaré’s album ‘Seya’ 23 Pupil sheet: Sounsoumba – Oumou Sangaré 24 Pupil sheet: Wele, Wele Wintou – Oumou Sangaré 25 Background notes for teachers 26–30 Lesson 4: Raising Her Voice 9 Lesson information 31–32 Activity outline 33 Background notes for teachers 34 Photo: Kieran Doherty Teachers’ overview Raising Her Voice is an exciting Aims series of lessons that enables you • To provide real-life information to stimulate pupils’ interest in to deliver a cross-curricular project music and human rights. that will inspire and motivate pupils • To promote an awareness and appreciation of West African musical styles and instruments, and of diversity in West to learn about the role of music in African music. social change. Focusing on West • To provide opportunities to consider examples of how the Africa, this pack will guide learners rights of women and girls can be denied, and ways in which women in West Africa are using music to speak up for the through an exploration of aspects of protection of their rights. -
BESTILLINGER Kan Skje Hele Året, Også Mellom NORDISK PROFIL: MÅNEDENS ALBUM; KAN Hvert Medlemsblad Etter Fristen for SJÄLV! ANDERS NORUDDE Avbestillinger
1 INNHOLD BESTILLINGER kan skje hele året, også mellom NORDISK PROFIL: MÅNEDENS ALBUM; KAN hvert medlemsblad etter fristen for SJÄLV! ANDERS NORUDDE avbestillinger. For noen titler har vi gjerne et viss bufferlager. MEN vær likevel klar over at for de fleste tit- NORDISK PROFIL: I HEITASTE SLÅTTEN - ler ligger vi ikke inne med stort NYUTGIVELSE MED ÅNON EGELAND, PER MIDTSTIGEN lager. Våre bestillinger til leveran- dører vil stort sett være basert på responsen fra medlemmene i tids- intervallet fra bladet kommer ut og NORDISK PROFIL: NORSKE VISETRUBADURER inntil fristen for avbestilling. Vi går hele tiden tomme for tidligere og populære titler. Sett derfor alltid ÅPEN PROFIL; PÅSKEPAKKE MED ROKIA TRAORE opp alternativer, eller kontakt oss om det er en spesiell tittel du gjer- OG BAUL BISHWA ne skulle bestille fra tidligere med- lemsblader. Se gul bestillingsku- pong midt i bladet. ÅPEN PROFIL; MUSIKK FRA AFRIKA BESTILLING AVBESTILLING ÅPEN PROFIL; LATI N AMERIKA OG BRAZIL INNMELDING kan skje på A-del på gul serviceku- pong. Denne kan sendes i post el- BALKANSK PROFIL; MAIPAKKE MED KRETISK ler på faks. Bestilling/Avbestilling/ OG RUMENSK DANSEM USIKK Innmelding kan også skje via e-mail eller på telefon i tiden mellom klok- ken 0900 og 1600. Erfaring viser at det i tider med mye trafikk, kan det BALKANSK PROFIL: MUSIKK FRA KYPROS være litt vanskelig å nå oss på tele- fon. Post, faks og E-mail er derfor å foretrekke. Se gul bestillingskupong midt i bladet og sørg for at du kjen- KELTISK PROFIL: MÅNEDENS ALBUM: MAIPAKKE ner og følger medlemsreglene på MED KEVIN O’CONNOR OG SEÁN WHELAN side 4.