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Relevant bibliographies by topics / African drum

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Journal articles

Academic literature on the topic 'African drum'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "African drum"

1

Fleming, Tyler, and Toyin Falola. "Africa's Media Empire: Drum's Expansion to Nigeria." History in Africa 32 (2005): 133–64. http://dx.doi.org/10.1353/hia.2005.0008.

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Publishing in Africa remains so difficult an enterprise that many publishers have collapsed, their dreams disappearing with them. This is especially true of the print media, particularly newspapers and magazines. During the past century, many magazines and newspapers failed to establish a loyal readership, keep costs down, insure wide circulation, or turn a huge profit. Consequently, not many African magazines can be viewed as “successful.” Drum magazine, however, remains an exception.In 1951 Drum, a magazine written for and by Africans, was established in South Africa. Drum enjoyed a great de

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2

Bokor, Michael J. K. "When the Drum Speaks." Rhetorica 32, no. 2 (2014): 165–94. http://dx.doi.org/10.1525/rh.2014.32.2.165.

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This article explores the instrumentality of traditional African drums in influencing human behavior, and debunks view-points held by some critics that these drums are mere instruments for entertainment, voodoo, or rituals. It argues that as cultural artifacts, the drums are a primal symbol (a speech surrogate form qualified as drum language) used for rhetorical purposes to influence social behavior, to generate awareness, and to prompt responses for the realization of personhood and the formation of group identity. This ascription of rhetorical functionality to the African drum-dance culture

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3

Knight, Roderic, Yaya Diallo, and Mitchell Hall. "The Healing Drum: African Wisdom Teachings." Ethnomusicology 35, no. 1 (1991): 121. http://dx.doi.org/10.2307/852397.

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4

Shum, Terence Chun Tat. "Street-Level Multiculturalism: Cultural Integration and Identity Politics of African Migrants in Hong Kong." Cultural Diversity in China 3, no. 1 (2018): 37–57. http://dx.doi.org/10.1515/cdc-2018-0001.

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Abstract Multiculturalism is about co-existence of diverse cultures. Current literature on multiculturalism mostly uses a top-down approach to examine how the governments adopt different policies to manage cultural diversity. However, how the migrants use their own culture including music to enhance integration is often neglected. This paper uses the experience of African migrants in Hong Kong to reveal an alternative account of multiculturalism. Based on in-depth interviews and participant observation with African drummers, this paper examines the role of African drum as a means of cultural i

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5

Rabe, L. "A modern version of the African drum." Ecquid Novi: African Journalism Studies 25, no. 1 (2004): 3. http://dx.doi.org/10.3368/ajs.25.1.3.

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6

Rabe, Lizette. "A modern version of the African drum." Ecquid Novi: African Journalism Studies 25, no. 1 (2004): 3. http://dx.doi.org/10.1080/02560054.2004.9653274.

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7

Knight, Roderic. "African Percussion: Mamadou Ly, Mandinka Drum Master." Ethnomusicology 40, no. 1 (1996): 145. http://dx.doi.org/10.2307/852455.

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8

Russell, Daniel A., and Wesley S. Haveman. "Acoustic and modal analysis of an African djembe drum." Journal of the Acoustical Society of America 108, no. 5 (2000): 2591. http://dx.doi.org/10.1121/1.4743633.

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9

Johnson, Hafiz Shabazz Farel, and John M. Chernoff. "Basic Conga Drum Rhythms in African-American Musical Styles." Black Music Research Journal 11, no. 1 (1991): 55. http://dx.doi.org/10.2307/779244.

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10

Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in Amer

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