Nigerian Popular Music Is Everywhere: Proliferation Or Development?
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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. -
Muslims of Kwara State: a Survey
Nigeria Research Network (NRN) Oxford Department of International Development Queen Elizabeth House University of Oxford NRN BACKGROUND PAPER NO. 3 Muslims of Kwara State: A Survey Abdulganiy Abimbola Abdussalam* January 2012 Acknowledgements The author gratefully acknowledges financial support from the Islam Research Programme - Abuja, funded by the Ministry of Foreign Affairs of the Kingdom of the Netherlands. The views presented in this paper represent those of the author and are in no way attributable to the Ministry. * Dr Abdulganiy Abimbola Abdussalam obtained his Ph.D. in Arabic Linguistics at the University of Ilorin, in 2003, with a dissertation entitled An Analytical Study of Arabic Works of Ulama in Yorubaland of Nigeria. He is senior lecturer in the Department of Languages and Linguistics, Nasarawa State University, Keffi. NRN Background Paper 3 Abstract The paper begins with an overview of Kwara State, then proceeds to a brief discussion of categories of Muslims in the state, with estimates of percentages of Muslims in various categories. There follow discussions of Islamic education in the state, and of Muslims and Islam in politics and government. The last two substantive sections discuss Muslim NGOs, with details on four groups, and then three notable Muslim personages active in the state, and the paper ends with a brief conclusion. Table of Contents 1. Overview 3 2. Categories of Muslims 3 a. Estimated percentages belonging to various groups 3 b. Relations among the various groups of Muslims 3 3. Islamic education 4 a. Qur’anic education 4 b. Islamiyya schools 4 c. Tertiary Islamic education 4 i. Private 4 ii. -
1 Chapter Three Historical
University of Pretoria etd, Adeogun A O (2006) CHAPTER THREE HISTORICAL-CULTURAL BACKCLOTH OF MUSIC EDUCATION IN NIGERIA This chapter traces the developments of music education in the precolonial Nigeria. It is aimed at giving a social, cultural and historical background of the country – Nigeria in the context of music education. It describes the indigenous African music education system that has been in existence for centuries before the arrival of Islam and Christianity - two important religions, which have influenced Nigerian music education in no small measure. Although the title of this thesis indicates 1842-2001, it is deemed expedient, for the purposes of historical background, especially in the northern part of Nigeria, to dwell contextually on the earlier history of Islamic conquest of the Hausaland, which introduced the dominant musical traditions and education that are often mistaken to be indigenous Hausa/northern Nigeria. The Islamic music education system is dealt with in Chapter four. 3.0 Background - Nigeria Nigeria, the primarily focus of this study, is a modern nation situated on the Western Coast of Africa, on the shores of the Gulf of Guinea which includes the Bights of Benin and Biafra (Bonny) along the Atlantic Coast. Entirely within the tropics, it lies between the latitude of 40, and 140 North and longitude 20 501 and 140 200 East of the Equator. It is bordered on the west, north (northwest and northeast) and east by the francophone countries of Benin, Niger and Chad and Cameroun respectively, and is washed by the Atlantic Ocean, in the south for about 313 kilometres. -
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. -
Working Papers in African Studies No. 269
Working Papers in African Studies No. 269 A History of Christianity in Nigeria: A Bibliography of Secondary Literature D. Dmitri Hurlbut Working Papers in African Studies African Studies Center Pardee School of Global Studies Boston University 2017 The opinions expressed in this publication are those of the author and do not necessarily reflect the views of Boston University or the African Studies Center. Series Editor: Michael DiBlasi Production Manager: Sandra McCann African Studies Center Frederick S. Pardee School of Global Studies Boston University 232 Bay State Road Boston, MA 02215 Tel: 617-353-7306 Fax: 617-353-4975 E-mail: [email protected] Web: www.bu.edu/africa/publications © 2017, by the author ii Working Papers in African Studies No. 269 (2017) The History of Christianity in Nigeria: A Bibliography of Secondary Literature* By D. Dmitri Hurlbut Introduction As long as scholars have been writing about the history of Nigeria, they have been writing about Christianity. After more than sixty years, however, it is time to take stock of this vast body of literature, and get a sense of where we have been and where we are going. It is my hope that the compilation of this relatively comprehensive bibliography, and a brief discussion of some of the gaps that need to be filled in the literature, will inspire scholars to take their historical research in exciting and novel directions. Based on a reading of this bibliography, I would like to suggest that future research into the history of Christianity in Nigeria should be directed in three broad directions. First, historians need to focus more research on the development of mainline mission churches following independence, because the historiography remains skewed in favor of independent churches. -
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. -
Arabic Manuscripts in the Ilorin Emirate. Ilorin: Kwara State University Press, 2019
RESEARCH AFRICA REVIEWS Volume 4 (2020) Page 7 Research Africa Reviews Vol. 4 No. 1, April 2020 These reviews may be found on the RA Reviews website at: https://sites.duke.edu/researchafrica/ra-reviews/volume-4-issue-1/ Moshood Mahmood Jimba (ed). Arabic Manuscripts in the Ilorin Emirate. Ilorin: Kwara State University Press, 2019. 268 pp. ISBN 978 978 53920 8-1. Reviewed by: Amidu Sanni, Vice-Chancellor/ President, Fountain University, Osogbo, Nigeria. Manuscripts in formal Arabic and in African languages in the Arabic script have become a veritable source of new and authentic knowledge about Africa. Albrecht Hofheinz bemoans the neglect of Yoruba and Songhay in the discourse on African Arabic scripted languages1. The work under review has come to unearth the hidden treasure of Ilorin, a city that has produced “some of the most distinguished Yoruba scholars”2. But for John Hunwick (1936-2015) and Stefan Reichmuth, the manuscript heritage of Ilorin and its affiliated settlements would have remained in the dungeon.3 Hence, this volume has come to throw more light on a little studied but important repository of the Islamic manuscript heritage. The Kwara State University (KWASU) Centre for Ilorin Manuscripts holds some 220-manuscript items of about 2120 folios from which the volume under review is derived. It is the product of a painstaking exertion by the Ilorin Manuscript Group under the leadership of Moshood Jimba. The Preface by AbdulRasheed Na’Allah offers an insightful discussion on the multiplicity of the writing styles of Ilorin authors, as reflected in the multiculturalism of the city itself. -
Research Africa Reviews Vol. 2 No. 2, August 2018
RESEARCH AFRICA REVIEWS Volume 2 (2018) Page 11 Research Africa Reviews Vol. 2 No. 2, August 2018 These reviews may be found on the RA Reviews website at: https://sites.duke.edu/researchafrica/ra-reviews/volume-2-issue-2-august-2018/ Arabic Manuscript: The Hidden Treasure of Ilorin - Nigeria A Literature Review by: Moshood Mahmood Jimba, Kwara State University, Ilorin, Nigeria. Preamble Though Ilorin Emirate, in the north central zone of Nigeria, is part and parcel of the north and a frontier state of the Sokoto Caliphate, little or no mention is made of it when Arabic manuscript of northern Nigeria is discussed. Several conferences have been organized on Arabic manuscript in northern Nigeria at Arewa House, Kaduna, Usmanu Danfodiyo University, Sokoto, Ahmadu Bello University, Zaria, University of Maiduguri etc without a single paper presented on Ilorin. Similarly, a good number of Western scholars of manuscript such as John Hunwick, Michaelle Biddle, Dmitry Bondarev etc have carried out several researches on Nigerian manuscripts without referring to Ilorin. Bur for Stefan Reichmuth, who did an extensive work on Ilorin manuscripts, they would have remained anonymous to the academic world. In this short piece, attempt shall be made to discuss, in brief, the position and status of Arabic manuscript in Ilorin Emirate and the efforts that have been made to preserve it. Ilorin Emirate in Brief Ilorin emirate, established c.1823-4, is an exclusive Muslim learning community with a unique history, culture and dynamic Islamic tradition. Its uniqueness and dynamic Islamic tradition derived from the fact that it is home to Muslims from different ethnic, linguistic, cultural backgrounds.