Relevant bibliographies by topics / African musics

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'African musics'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 January 2023

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Journal articles on the topic "African musics"

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Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

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We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.
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Kwami, Robert. "An Approach to the Use of West African Musics in the Classroom Based on Age and Gender Classifications." British Journal of Music Education 8, no. 2 (July 1991): 119–37. http://dx.doi.org/10.1017/s0265051700008238.

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This article proposes age and gender as a way of classifying music; it raises awareness of the importance of age–gender classifications of West African musics; and introduces examples of West African musics.It is argued that the classifications could help in selecting musics for curricular use: they could be used as a framework to choose African musics for school curricula; while the musical examples may be of some use to teachers. Three curricular perspectives – musical, intercultural and multidisciplinary – are suggested, the first of which draws on African drumming procedures and creative work.
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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.
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Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.

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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions for South African art-music production and practice.
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Kwami, Robert. "A Framework for Teaching West African Musics in Schools and Colleges." British Journal of Music Education 12, no. 3 (November 1995): 225–45. http://dx.doi.org/10.1017/s0265051700002722.

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Existing classifications of West African musics seem to have a limited applicability as models for music education in schools and colleges. Hence, a more comprehensive classification, highlighting a range of syncretic forms, is merged with a structure in Ghanaian drum ensembles to yield a sequential, two dimensional, model. It is then argued that the model can be used as a framework for teaching West African musics in primary, secondary and tertiary educational institutions. A more general discussion is followed by an integrated arts application; finally, a musical perspective, including compositions by the present writer, is presented.
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Kwami, Robert. "A West African Folktale in the Classroom." British Journal of Music Education 3, no. 1 (March 1986): 5–18. http://dx.doi.org/10.1017/s026505170000509x.

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The author describes an investigation into the use of West African folklore in the school curriculum by means of an African folktale which became the basis for a project in the class music lessons. Starting with research into West African folklore, particularly children's stories and songs, in Ghana and Nigeria between 1979 and 1983, music was composed in a basically African style to go with an adaptation of one of the stories.The practical work in a London primary school investigated ways of minimising the apparent dichotomy between African and Western musics in the curriculum.
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Mason, Nicola F. "The Diversity of African Musics." General Music Today 27, no. 2 (July 24, 2013): 30–35. http://dx.doi.org/10.1177/1048371313493287.

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.
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Perrone, Charles A. "Brazil." Popular Music 6, no. 2 (May 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.

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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.
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Reynolds, Dwight. "Musics of Algeria: Selected Recordings." Middle East Studies Association Bulletin 29, no. 1 (July 1995): 16–21. http://dx.doi.org/10.1017/s0026318400030431.

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Algeria holds a singular place for Arab culture as a region in which the musical traditions of Islamic Spain, the Ottoman Empire, the eastern Arab countries (the Mashriq), Saharan and West Africa, Berbers, Bedouin and Europe have all interacted to various degrees. Morocco to the west was never as directly exposed to Ottoman and eastern Arab musical traditions; Tunisia and Libya to the east have had far less contact with sub-Saharan and West African musics and far more direct contact with the musics of their eastern neighbors. To simplify this complex musical landscape to some degree, the many distinct musical traditions of Algeria can be roughly divided into five groups: 1) Andalusian traditions, 2) Urban popular traditions, 3) Arabic-language folk traditions, 4) Berber and Saharan traditions, 5) the modern rai, or “pop-rai,” phenomenon. Recordings listed below have been selected for their representativeness and availability in the United States and Canada.
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Dissertations / Theses on the topic "African musics"

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McConnachie, Boudina. "Indigenous and traditional musics in the school classroom : a re-evaluation of the South African Indigenous African Music (IAM) curriculum." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/6806.

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Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.
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Hankins, Sarah Elizabeth. "Black Musics, African Lives, and the National Imagination in Modern Israel." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467531.

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“Black Musics, African Lives, and the National Imagination in Modern Israel,” explores the forms and functions of African and Afro-diasporic musics amidst heated public debate around ethnic identity and national membership. Focusing on musical-political activity among Ethiopian Israeli citizens, Sudanese and Eritrean refugees, and West African labor migrants in Tel Aviv, I examine how diverse types of musicking, from nightclub DJing and live performance to church services and protest concerts, voice African and Afro-descendent claims to civic status in a fractured urban environment. Grounded in ethnographic participant observation, the dissertation analyzes musical and political activity through the lens of “interpretive modes” that shape contemporary Israel’s national consciousness, and which influence African and Afro-descendant experiences within Israeli society. These include “Israeliyut,” or the valorization of so-called native Israeli cultural forms and histories; “Africani,” an emerging set of aesthetic and social values that integrates African and Afro-descendent subjectivities into existing frameworks of Israeli identity; and “glocali,” or the effort to reconcile local Israeli experience with aspects of globalization. Tracing “blackness” as an ideological and aesthetic category through five decades of public discourse and popular culture, I examine the disruptions to this category precipitated by Israel’s 21st century encounter with African populations. I find that the dynamics of debate over African presence influence an array of mass-cultural processes, including post-Zionism, conceptions of ethnic “otherness,” and the splintering of Israel’s left into increasingly narrow interest groups. Contributing to the literature on continuity and change within urban-dwelling African diasporas, this dissertation is the first monograph exploring dramatic transformations of Israel’s highly consolidated national culture through in-depth ethnography with migrant groups.
Music
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Unruh, Amy Elizabeth. "Louis Moreau Gottschalk (1829-1869) the role of early exposure to African-derived musics in shaping an American musical pioneer from New Orleans /." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1257865487.

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Thesis (Ph.D.)--Kent State University, 2009.
Title from PDF t.p. (viewed April 9, 2010). Advisor: Terry E. Miller. Keywords: Louis Moreau Gottschalk; Gottschalk; Amy Unruh; music; piano; African; Bamboula; night; tropics; New Orleans; Louisiana; American; composer. Includes bibliographical references (p. 308-323).
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Chapman, James Norman. "Afro No-Clash : composing syncretic African/Western music : eleven compositions and the frameworks for their systematic analysis." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16694/1/Jim_Chapman_Thesis.pdf.

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This PhD consists of an artistic work (an album of music) and an exegesis. The album contains eleven works for a variety of ensembles, including an eight-piece pop fusion group, a string quartet, an eleven-piece a cappella ensemble, a five-piece contemporary classical ensemble and a six-piece percussion ensemble. Each of these works embraces a blend of African and Western techniques and aesthetics. These works are the result of a compositional praxis which is closely integrated with a theoretical framework that I develop in the exegesis. The purpose of the exegesis is to provide a framework from which to understand the compositions. Perspectives such as postcolonialism are immediately engaged because of the fact that two distinct world cultures are referenced by these compositions. Similarly, the musical aesthetics of the two source cultures are examined because I need to understand the ways that the value systems are expressed in musical terms, and how they might interact in cross-cultural composition. Examination of the literature reveals that there has been a trend in recent decades towards cultural analysis of cross-cultural music but very little work has been done on the technical analysis of such works (Utz 2003). A preliminary list of issues is developed from a survey of ten relevant composers’ works and these issues are categorised into three analytic dimensions: the contextual (cultural), aesthetic and technical. African “musics” and musical cultures are discussed with regard to issues of Western interpretation (Agawu 2003) and appropriate representation, social and cultural preferences and aesthetic values. Likewise Western musical culture is examined in order to understand its colonial impact, its stylistic consistency and ideas that have emerged about aesthetic preferences and the interpretation of meaning (Cone 1972; Kivy 2001). Four frameworks are developed to address each of these analytical dimensions. The first deals with cultural identity and the appropriation of musical ideas, the second with the sensitivity of certain materials. The third framework enables the examination of the aesthetic preferences for each of the cultures involved and the fourth framework provides a taxonomy and vocabulary of terms for use in analysis of the structural and other technical features of cross-cultural Western/African musics. These four frameworks are applied to the eleven compositions that I have completed for this project. I identify distinct approaches to appropriation, aesthetic preferences, the predominance of rhythmic structure and the performative embodiment and narrative transformational processes in my compositions. I conclude by categorising the technical and stylistic preferences embodied in my work, and identifying possible future directions for my compositions and the development of the analytical frameworks.
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Chapman, James Norman. "Afro No-Clash : composing syncretic African/Western music : eleven compositions and the frameworks for their systematic analysis." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16694/.

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This PhD consists of an artistic work (an album of music) and an exegesis. The album contains eleven works for a variety of ensembles, including an eight-piece pop fusion group, a string quartet, an eleven-piece a cappella ensemble, a five-piece contemporary classical ensemble and a six-piece percussion ensemble. Each of these works embraces a blend of African and Western techniques and aesthetics. These works are the result of a compositional praxis which is closely integrated with a theoretical framework that I develop in the exegesis. The purpose of the exegesis is to provide a framework from which to understand the compositions. Perspectives such as postcolonialism are immediately engaged because of the fact that two distinct world cultures are referenced by these compositions. Similarly, the musical aesthetics of the two source cultures are examined because I need to understand the ways that the value systems are expressed in musical terms, and how they might interact in cross-cultural composition. Examination of the literature reveals that there has been a trend in recent decades towards cultural analysis of cross-cultural music but very little work has been done on the technical analysis of such works (Utz 2003). A preliminary list of issues is developed from a survey of ten relevant composers’ works and these issues are categorised into three analytic dimensions: the contextual (cultural), aesthetic and technical. African “musics” and musical cultures are discussed with regard to issues of Western interpretation (Agawu 2003) and appropriate representation, social and cultural preferences and aesthetic values. Likewise Western musical culture is examined in order to understand its colonial impact, its stylistic consistency and ideas that have emerged about aesthetic preferences and the interpretation of meaning (Cone 1972; Kivy 2001). Four frameworks are developed to address each of these analytical dimensions. The first deals with cultural identity and the appropriation of musical ideas, the second with the sensitivity of certain materials. The third framework enables the examination of the aesthetic preferences for each of the cultures involved and the fourth framework provides a taxonomy and vocabulary of terms for use in analysis of the structural and other technical features of cross-cultural Western/African musics. These four frameworks are applied to the eleven compositions that I have completed for this project. I identify distinct approaches to appropriation, aesthetic preferences, the predominance of rhythmic structure and the performative embodiment and narrative transformational processes in my compositions. I conclude by categorising the technical and stylistic preferences embodied in my work, and identifying possible future directions for my compositions and the development of the analytical frameworks.
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Migakini-Laï, Gilbert. "Dynamisme et caractère identitaires des patrimoines musicaux Nzakara et Yakoma (République Centrafricaine)." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0577/document.

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Les Nzakara et les Yakoma vivent dans la même région du sud-est de la République Centrafricaine et partagent des origines communes selon les récits mythiques. Leurs patrimoines musicaux véhiculent leurs particularités culturelles qui se répercutent sur les pratiques musicales. On observe que la forêt et le fleuve jouent un rôle très différent dans leur construction identitaire. La forêt favorise la fermeture et le fleuve, l’ouverture. Les Nzakara ont un mode de vie lié à la forêt qui constitue leur principale source d’inspiration musicale ; ils sont plutôt conservateurs et ne sont pas prêts à se détacher de leurs sources tout en ignorant les réalités du monde en pleine mutation. Cette société précoloniale était fortement hiérarchisée. La musique tenue dans la plupart des cas par les poètes était très liée à l’ancienne organisation sociopolitique de la dynastie Bandia. Les Yakoma, en revanche, ont un mode de vie qu’il est convenu d’appeler « civilisation de la rivière » et qui constitue également leur source d’inspiration musicale ; ils sont plutôt ouverts et s’adaptent plus facilement aux changements. Aujourd’hui la musique se retrouve de plus en plus dans les églises majoritairement fréquentées par ce peuple. Leur société n’est pas hiérarchisée. L’arrivée des colons avec leurs corollaires, les missionnaires catholiques et protestants, s’est traduite par une lutte virulente contre les symboles religieux, les pratiques musicales et les instruments de musique. Cette situation a plongé les Nzakara dans un état de désenchantement et les a conduit à un abandon général de leurs pratiques culturelles
The Nzakara and Yakoma people live in the southeast of the Central African Republic and according to mythical accounts share common origins. Their musical heritages convey their cultural specificities which resonnate in their musical practices. Within their identity construction processes, it is possible to identify very different roles played by the forest and the river: the forest promotes closure and the river, opening.The Nzakara way of live is linked with the forest, which constitutes their main musical source of inspiration. They tend to be conservative, are not ready to move away from their sources, unaware of the realities of the fast-changing world. This pre-colonial society was strongly hierarchical. The music used in most cases by the poets is closely linked to the sociopolitical organization of the dynasty Bandia. The Yakoma way of live, conversely, is usually described as the "civilization of the river", which also constitutes their musical source of inspiration. They tend to be more open and adapt more easily to social changes. Their society is not organized hierarchically.The arrival of the colonists accompanied by Catholic and Protestant missionaries resulted in a virulent struggle against their religious symbols, musical practices and the musical instruments. This situation destabilized and disillusioned the Nzakara, leading them to abandon their cultural practices
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Nkabinde, Thulasizwe. "Indigenous features inherent in African popular music of South Africa." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.

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A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997.
The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
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Mugandani, Viola Nyemudzai. "Jangwa music and musical performance by the Manyika people of Zimbabwe." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60400.

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Jangwa music is traditional to the Manyika people of Zimbabwe. The Manyika are a sector of the Shona people, occupying a portion of Manicaland Province in the eastern part of Zimbabwe. African societies carefully craft songs for different contexts to serve a functional and educational purpose. The aim of the study was to explore the origin and the structure of jangwa music, the sociological and social psychological functions of the music and its performance, as well as its aesthetic values among the Manyika people. The study utilised focused ethnographical methods. A large group of elderly Manyika people with extensive knowledge and experience who were purposively selected acted as key informants. Data collection strategies included participant and non-participant observation during jangwa music performances, as well as in-depth individual and focus-group interviews. The study employed content analysis and selected songs were transcribed in staff notation using Crescendo Music Notation Software for analysis purposes. The outcomes of the study reveal some form of acculturation in the origin and structure of the music resulting in the music being a contemporary choral music. While some of the songs are for school sporting events, others are to demonstrate pride in teachers, community leaders and natural features within the Manyika region. However, the findings reveal that the majority of jangwa songs are for wedding and marriage ceremonies. Most of the wedding songs focus on the role of brides and married women as a whole, signifying the pivotal role they play within the Manyika society, yet a glimpse of the male roles are heard. In all the contexts, jangwa music contributes in uplifting the sociological and social psychological well-being of performers and audience members. For the Manyika people, the function of jangwa music takes precedence in its aesthetical values. Considering the diminishing of African musical arts, the study recommends the ethno-musicological use of jangwa music in informal and formal education in Zimbabwe for the promotion of indigenous knowledge systems. Jangwa song lyrics convey the distinctive values, virtues, and life skills of the Manyika people, and are therefore inextricably bound to the indigenous fabric and context-specific utilitarian purposes of the music.
Thesis (DMus)--University of Pretoria, 2016.
Music
DMus
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McConnachie, Boudina. "Legal access to our musical history: an investigation into the copyright implications of archived musical recordings held at the International Library of African Music (ILAM) in South Africa." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002313.

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This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.
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De, Beer Rudolf. "The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/d1011781.

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This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
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Books on the topic "African musics"

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Hope, Akua Lezli. Embouchure: Poems on jazz and other musics. New York: ArtFarm Press, 1995.

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Oehrle, Elizabeth. A new direction for South African music education: A creative introduction to African, Indian, and Western musics. 2nd ed. Pietermaritzburg: Shuter & Shooter, 1988.

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John, Gray. African music: A bibliographical guide to the traditional, popular, art, and liturgical musics of Sub-Saharan Africa. Westport, Conn: Greenwood Press, 1991.

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Ewens, Graeme. Africa o-ye!: A celebration of African music. London: Guinness, 1991.

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Africa o-ye!: A celebration of African music. Enfield: Guinness, 1991.

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Ewens, Graeme. Africa o-ye!: A celebration of African music. New York, N.Y., USA: Da Capo Press, 1992.

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S, Moore, ed. African pop roots: The inside rhythms of Africa. London: W. Foulsham, 1985.

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Hip hop Africa: New African music in a globalizing world. Bloomington: Indiana University Press, 2012.

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Bender, Wolfgang. Sweet mother : modern African music: Modern African music. Chicago: University of Chicago Press, 1991.

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Sound of Africa!: Making music Zulu in a South African studio. Durham: Duke University Press, 2003.

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Book chapters on the topic "African musics"

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Moore, Marvelene C. "Reflections on Traditional African American Music: Its Function and Relevance in Contemporary Music Education." In Traditional Musics in the Modern World: Transmission, Evolution, and Challenges, 13–23. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91599-9_2.

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Ludovic, S. J., Lado Tonlieu. "Religion and Peacebuilding in Sub-Saharan Africa." In The State of Peacebuilding in Africa, 47–64. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46636-7_4.

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Abstract This chapter critically examines the contribution of religion to peacebuilding in Sub-Saharan Africa. An overview of the complex and evolving religious landscape of Africa today, where Christianity and Islam coexist alongside African traditional religions, is followed by an exploration of the intersection of secular and faith-based processes of peacebuilding in what remains a profoundly religious continent. Thirdly, this chapter probes the different ways religion has been appropriated or justified in the service of terror, notably in the case of the Central African Republic. Lastly, the chapter considers how religion-based efforts to mitigate conflict in Africa can be made more effective, especially Muslim-based initiatives, given the disproportionate impact on Africa’s Muslims.
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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "African Music." In Anthology to Accompany Gateways to Understanding Music, 29–30. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-11.

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Chernoff, John Miller. "African Music." In Aesthetics, 229–32. 4 [edition]. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315303673-47.

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Onyeji, Christian. "Composing art music from indigenous African musical paradigms." In Music Education in Africa, 262–78. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-17.

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Hutchinson, Sydney. "African Musical Legacies." In Focus: Music of the Caribbean, 66–94. Other titles: Music of the Caribbean Description: New York : Routledge, 2019. | Series: Focus on world music: Routledge, 2019. http://dx.doi.org/10.4324/9781315106052-4.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "African American Religious Music." In Anthology to Accompany Gateways to Understanding Music, 232–33. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-36.

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Hodgson, Janet. "6. Example 3: Western and African music in Southern Africa." In Liturgical Inculturation in the Anglican Communion, edited by David Holeton, 37–40. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463219475-011.

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Miller, Terry E., and Andrew Shahriari. "Sub-Saharan Africa: Ghana, Nigeria, Central Africa, Zimbabwe, Uganda, Senegal, South Africa." In World Music, 299–340. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-10.

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Palmer, Eustace. "African technology, music, and art." In Africa, 246–69. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003111733-13.

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Conference papers on the topic "African musics"

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Dalamba, Lindelwa. "Popular music, folk music, African music: King Kong in South Africa and London." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.13.

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Coetzee, Paulette. "Hugh Tracey, authenticity and (African) popular music." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.12.

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Pyper, Brett. "Space, place, sound and sociability: Situating South African jazz appreciation societies." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.27.

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Eato, Jonathan. "Township comets: The impact of South African jazz on the UK scene." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.15.

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Ralfe, Sarah. "Local is lekker? The perceptions of South African music among Durban adolescents." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.28.

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Ballantine, Christopher. "Music, the word and the world; or the banality of (South African) classification." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.04.

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Ramanna, Nishlyn. "Jazz, space and power in apartheid South Africa: The army and the church." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.29.

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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.

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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Mullen, Jess. ""Not Really Music I Was Interested In": The Musical Lives of Four African American Youths." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1881314.

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Reports on the topic "African musics"

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Mehegan, Laura, and G. Chuck Rainville. Music and Brain Health Among African American/Black Adults. Washington, DC: AARP Research, November 2020. http://dx.doi.org/10.26419/res.00387.004.

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Kenes, Bulent. Richard B. Spencer: The founder of alt-right presents racism in a chic new outfit. European Center for Populism Studies (ECPS), June 2021. http://dx.doi.org/10.55271/lp0010.

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Richard Bertrand Spencer is a well-groomed, well-educated advocate for the creation of a “white ethno-state” in North America for a “dispossessed white race.” He has also called for “peaceful ethnic cleansing” to halt the “deconstruction” of what he describes as “white culture” and to achieve a “white homeland.” Spencer has become the most recognizable public face of the white supremacist and nationalist movements. As an ardent white supremacist and ethnonationalist, Spencer says America belongs to white people, who he claims have higher average IQs than Hispanics and African Americans, and that the latter are genetically predisposed to crime. In Spencer’s “America,” Asians, Muslims, and Jews don’t qualify as “white” either.
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