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Books on the topic 'African musics'

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

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1

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

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2

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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3

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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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

The music of Africa. London: Gollancz, 1986.

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12

Lems-Dworkin, Carol. African music: A pan-African annotated bibliography. London: Hans Zell, 1991.

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13

Nelson, Karleen Emmrich. The African hand piano. Lake Oswego, Or. (2615 SW Orchard Hill Ln., Lake Oswego 97095): Emmrich-Nelson Pub. Co., 1987.

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14

Kubik, Gerhard. Theory of African music. Wilhelmshaven: F. Noetzel, 1994.

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15

Kubik, Gerhard. Theory of African music. Chicago: The University of Chicago Press, 2010.

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16

Theory of African music. Chicago: The University of Chicago Press, 2010.

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17

Theory of African music. Wilhelmshaven: F. Noetzel, 1994.

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18

Kubik, Gerhard. Theory of African music. Chicago: The University of Chicago Press, 2010.

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19

Nketia, J. H. Kwabena. African music in Ghana. [Evanston, Ill.]: Northwestern University Press, 1996.

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20

A, Agordoh A. Studies in African music. Ho [Ghana]: New Age Publication, 2002.

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21

A, Agordoh A. Studies in African music. Ho [Ghana]: New Age Publication, 1994.

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22

Mbabi-Katana. African music for school. Kampala: Fountain Publishers, 2002.

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23

Karolyi, Otto. Traditional African and Oriental music. London: Penguin, 1998.

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24

Lucia, Christine. Music notation: A South African guide. Pretoria: Unisa Press, 2011.

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25

Agu, Dan C. C. Form and analysis of African music. Enugu, Nigeria: New Generation Books, 1999.

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26

Davis, Nathan T. African American music: A philosophical look at African American music in society. Needham Heights, MA: Simon & Schuster Custom Publishing, 1996.

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27

Ortiz, Fernando. Poesía y canto de los negros afrocubanos. La Habana: Publicigraf, 1994.

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28

Ogunade, Taiwo. Nigerian musical styles: African rhythm of unity. Lagos, Nigeria: Koto Books, 1992.

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29

World Music and the Black Atlantic: Producing and Consuming African-Cuban Musics on World Music Stages. Oxford University Press, Incorporated, 2020.

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30

World Music and the Black Atlantic: Producing and Consuming African-Cuban Musics on World Music Stages. Oxford University Press, Incorporated, 2020.

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31

Jorritsma, Marie. Hidden Histories of Religious Music in a South African Coloured Community. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.13.

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This chapter explores persistent traces of both indigenous and Euro-colonial music traditions in the church music of South African coloured people (a group of mixed racial heritage that was marginalized and oppressed by the apartheid regime). The author characterizes these persistent historical traces in coloured people’s performance style as “hidden transcripts” (following James Scott). Through the powerful historiographic tool of ethnomusicological listening, this chapter points to colonial as well as “African” traces surviving in contemporary musics and locates both encounter and resistance in contemporary performance styles, even those most closely related to colonial repertoires.
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32

Mojapelo, Max, and Sello Galane. Beyond Memory. African Minds, 2009. http://dx.doi.org/10.47622/9781920299286.

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South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still finds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.
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33

Sykes, Jim. The Cartography of Culture Zones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0006.

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This chapter criticizes the “cartography of culture zones”—the standard way cultural history is described in Sri Lanka—which locates traditional cultures in ethnically defined, regionally based culture zones. First, the chapter expands on the book’s previous exploration of Sinhala and Tamil musics by introducing the musics of Sri Lankan Muslims (an ethnic and religious category), Christians (a heterogenous religious category), Burghers (Eurasians), Kaffirs (Sri Lankans of African descent), and Väddas (the indigenous population). The chapter argues that scholars tend to adopt the European-derived idea that music belongs distinctly to humans with cultural histories rigidly demarcated along ethnic, religious, and regional lines. The chapter then traces histories of musical connection between Sri Lankan communities and culture zones. All the same, the chapter avoids debunking Sinhala Buddhist music as “Hindu” in character (a mistake of colonial era scholarship). The chapter respects difference while arguing for the importance in the Sri Lankan public sphere of recognizing connections.
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34

Whitmore, Aleysia K. World Music and the Black Atlantic. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.001.0001.

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In the mid-twentieth century, African musicians took up Cuban music as their own. They claimed it as a marker of black Atlantic connections and of cosmopolitanism untethered from European colonial relations. Today, Cuban/African bands popular in Africa in the 1960s and ’70s have moved into the world music scene in Europe and North America, and world music producers and musicians have created new West African–Latin American collaborations expressly for this market niche. This book follows two of these bands, Orchestra Baobab and AfroCubism, and the industry and audiences that surround them—from musicians’ homes in West Africa, to performances in Europe and North America, to record label offices in London. This book examines the intensely transnational experiences of musicians, industry personnel, and audiences as they collaboratively produce, circulate, and consume music in a specific post-colonial era of globalization. Musicians, industry personnel, and audiences work with and push against one another as they engage in personal collaborations imbued with histories of global travel and trade. They move between and combine Cuban and Malian melodies, Norwegian and Senegalese markets, and histories of slavery and independence as they work together to create international commodities. Understanding the unstable and dynamic ways these peoples, musics, markets, and histories intersect elucidates how world music actors assert their places within, and produce knowledge about, global markets, colonial histories, and the black Atlantic. This book offers a nuanced view of a global industry that is informed and deeply marked by diverse transnational perspectives and histories of transatlantic exchange.
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35

Slobin, Mark. Motor City Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882082.001.0001.

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The book combines memoir, interview, and archival sources to survey the musical life of the author’s hometown, Detroit, in his youth during the city’s heyday, 1940s–1960s. After an opening chapter on the formation of personal musical identity, the focus shifts to the formative role of the public school system in educating and shaping the careers of waves of highly talented youth, many of whom became leading figures in African American and classical music nationally. Next comes a panorama of the “neighborhood” subcultural musics of European, southern white, and southern black immigrants to Detroit, followed up by a close-up of the Jewish community’s special case. “Merging Traffic” considers the way that industry, labor, the counterculture, Motown, and the media brought many streams of music together. A final retrospective chapter cites the work of Detroit writers and artists who, like the author, have been looking back at the city’s impact on their work. This is the first-ever comprehensive survey of the musical life of any American city in a given time period.
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36

Gyebi-Tweneboah, Kwasi. African Piano Tutor – Pianoforte Tutor Beginners Level 1. Noyam Publishers, 2021. http://dx.doi.org/10.38159/npub.eb2021501.

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Music is an integral part of African society and the life of an African revolves around music. Musical instrument play is part and parcel of African music. Thus, learning a musical instrument is part of the African culture. The piano although not African in origin, has been adopted in Africa through globalization and glocalization. This book introduces the learner to piano playing using African rhythm as its theme. It introduces the learner to basic rhythms and basic finger positions to play the simple pieces that are in the book. This book is a result of the author’s many years of teaching piano to beginners. The author hopes that this book forms a foundation for students to learn African rhythms and to love African music for further progression.
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37

African Music and the Church in Africa. Hassell Street Press, 2021.

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38

Drewett, Michael. Exploring Transitions in Popular Music. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.1.

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This article examines the censorship of popular music in South Africa during the apartheid (1948–1994) and post-apartheid years, as well as changes in musical censorship resulting from the country’s transition to democracy. It considers the different forms of censorship in South Africa, paying particular attention to central government mechanisms of music censorship through the former Directorate of Publications and the South African Broadcasting Corporation. Despite the relaxation of formal mechanisms of censorship since the early 1990s and the significant freedom of expression enjoyed by musicians, the article shows that regulation and censorship of popular music remain in effect. Finally, it assesses the current situation with regards to musical censorship in South Africa and the implications of present legislation for the future.
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39

Nyaho, William H. Chapman. Piano Music of Africa and the African Diaspora. Oxford University Press Inc, USA, 2008.

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40

Nyaho, William H. Chapman. Piano Music of Africa and the African Diaspora. Oxford University Press Inc, USA, 2008.

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41

Piano Music of Africa and the African Diaspora. Oxford University Press Inc, USA, 2008.

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42

Nyaho, William H. Chapman. Piano Music of Africa and the African Diaspora. Oxford University Press Inc, USA, 2007.

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43

Nyaho, William H. Chapman. Piano Music of Africa and the African Diaspora. Oxford University Press Inc, USA, 2007.

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44

Jaji, Tsitsi Ella. Africa in Stereo: Modernism, Music, and Pan-African Solidarity. Oxford University Press, 2014.

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45

Jaji, Tsitsi Ella. Africa in Stereo: Modernism, Music, and Pan-African Solidarity. Oxford University Press, Incorporated, 2013.

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46

Africa in Stereo: Modernism, Music, and Pan-African Solidarity. Oxford University Press, 2014.

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47

Thompson, Katrina Dyonne. The Script. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038259.003.0002.

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This chapter examines seventeenth- and eighteenth-century European and American travel journals to reveal the manner in which they portrayed West Africans in order to create the moral and social justifications for slavery and racial stereotypes. It argues that European travelers often ignored the ritualistic purpose of West African music and dance and instead reduced West Africans to servants, prostitutes, and entertainers. These societal positions were developed on the premise of European hegemony and aimed to create an African commodity. Throughout West Africa, music, song, and dance were important cultural expressions. However, from the sixteenth to nineteenth centuries, European and American travelers distorted these expressions in order to project and fulfill their own desires. This chapter shows how travel narratives presented the identity of West Africans as malleable and capable of being shaped according to the desired purpose of the gazer. Through their creation of the innate dancers and singers, it contends that travel journals contributed to the subjugation and reconfiguration of the black body through its neglect of the actual culture and tradition of the performing arts.
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48

Charry, Eric S. Hip Hop Africa: New African Music in a Globalizing World. Indiana University Press, 2012.

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49

McNeill, Fraser G. AIDS, Politics, and Music in South Africa South African Edition. Cambridge University Press, 2012.

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50

Winders, James A. Paris Africain: Rhythms of the African Diaspora. Palgrave Macmillan, 2006.

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