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Journal articles on the topic 'African musics'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Ballantine, Christopher. "Concert and Dance: the foundations of black jazz in South Africa between the twenties and the early forties." Popular Music 10, no. 2 (May 1991): 121–45. http://dx.doi.org/10.1017/s0261143000004475.

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The explosive development of a jazz-band tradition in South African cities from the 1920s – closely allied to the equally rapid maturation of a vaudeville tradition which has been in existence at least since the First World War – is one of the most astonishing features of urban-black culture in that country in the first half of the century. Surrounded by myriad other musics – styles forged by migrant workers; traditional styles transplanted from the countryside to the mines; petty bourgeois choral song; music of the church and of western-classical provenance – jazz and vaudeville quickly established themselves as the music which represented and articulated the hopes and aspirations of the most deeply urbanised sectors of the African working class.

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12

이봉재. "The Sources of African Musics and Its Hybridities." Music and Culture ll, no. 25 (September 2011): 173–98. http://dx.doi.org/10.17091/kswm.2011..25.173.

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13

Walling, Catherine Bennett. "Intercultural exchanges in South Africa: Exploring music teacher experiences, understandings, and practices." International Journal of Music Education 38, no. 2 (October 2, 2019): 252–66. http://dx.doi.org/10.1177/0255761419877574.

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The purpose of this study was to examine the experiences of four US music educators during and after a 3-week adult choir camp in South Africa. Findings reveal that the camp positively influenced music teacher understandings and practices, both during and after the exchange. Throughout the camp, participants navigated race, privilege and prejudice and expressed value for a vast array of shared experiences with choir mates, teachers, and homestays. Participants reflected regularly on processes of learning new musics, describing growth through authentic and at times challenging activities. Furthermore, all participants recognized that firsthand experiences were essential to deep learning. During the camp, all participants expressed hopes of bringing new ideas and music home; 2 months after returning to their classrooms, 3 of the 4 participants reported the teaching of South African songs along with modified pedagogical approaches. Ultimately, participants shared that the trip had impacted them in various personal ways, noting increased tolerance, patience, kindness, confidence and hope.

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14

Agawu, Kofi, and John Gray. "African Music: A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa." Yearbook for Traditional Music 24 (1992): 169. http://dx.doi.org/10.2307/768486.

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15

Ottenheimer, Harriet J., and John Gray. "African Music: A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa." International Journal of African Historical Studies 25, no. 1 (1992): 184. http://dx.doi.org/10.2307/220178.

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16

Waterman, Christopher A., and John Gray. "African Music: A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa." Notes 51, no. 1 (September 1994): 213. http://dx.doi.org/10.2307/899244.

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17

Westley, David, and John Gray. "African Music: A Bibliographical Guide to the Traditional, Popular Art, and Liturgical Musics of Sub-Saharan Africa." African Studies Review 36, no. 1 (April 1993): 152. http://dx.doi.org/10.2307/525522.

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18

Poché, Christian, John Gray, and Carol Lems-Dworkin. "African Music. A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa." Cahiers de musiques traditionnelles 7 (1994): 250. http://dx.doi.org/10.2307/40240206.

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19

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 (October 28, 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 American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.

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20

Burton, Bryan. "Multicultural Resources: Resources for African and Latin American Musics." General Music Today 16, no. 2 (April 2003): 12–17. http://dx.doi.org/10.1177/10483713030160020501.

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21

Poole, Adrian. "Comparing Timeline Rhythms in Pygmy and Bushmen Music." Empirical Musicology Review 12, no. 3-4 (June 25, 2018): 172. http://dx.doi.org/10.18061/emr.v12i3-4.5823.

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Combining theories of African rhythm from ethno/musicology and findings from anthropological research and population genetics with musical analyses based on transcriptions and computational phylogenetic techniques, this article compares rhythms used in Pygmy and Bushmen music in an attempt to provide new perspectives on an old debate that these musical cultures may share a common heritage. To do this, the comparative analyses focus on timelines: foundational rhythmic features that provide the structural basis of the music. The findings suggest that Pygmy and Bushmen timelines are interrelated and that most are organised according to the principles of 'rhythmic oddity' and maximal evenness. Generative theory suggests that commonly used rhythmic cells, in particular the 3:2 pattern, form the structural basis of many Pygmy/Bushmen timelines as well as many other timelines featured in African and African-derived musics. Timelines are also multi-purpose musical devices used in various different social contexts and their structure appears to be resilient to radical change. Phylogenetic analysis of timelines provides no clear Pygmy/Bushmen ancestral timeline, although it is possible that foundational rhythms such as the 3:2 pattern may have featured in the music of a common ancestral group.

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22

Campbell, Patricia Shehan. "How Musical We Are: John Blacking on Music, Education, and Cultural Understanding." Journal of Research in Music Education 48, no. 4 (December 2000): 336–59. http://dx.doi.org/10.2307/3345368.

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The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork and teaching of music as a social and cultural force, and finally to his teaching and scholarly contributions as an academic powerhouse and articulate advocate for the education of children in and through music in the United Kingdom, the United States, and internationally. An examination follows to gauge the extent of John Blacking's fieldwork and theoretical views relevant to music, education, and culture, with particular attention to Blackings approach to the study of children as a distinctive musical culture and the nature of their musicality, the central role of physical movement and dance as integrated within the musical experience, and the development of world musics in educational programs.

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23

Stewart, Jesse. "Articulating the African Diaspora through Rhythm." rythmer, no. 16 (April 11, 2011): 167–84. http://dx.doi.org/10.7202/1001961ar.

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This essay examines cyclical rhythmic structures drawn from several musical traditions rooted in the African diaspora, focusing on “diatonic rhythms” and on what saxophonist and composer Steve Coleman coined “nested looping structures.” Such rhythmic structures can be regarded not only as retentions of African musical and cultural heritage, but also as a model to understand threads of continuity that exist between many of the disparate musics and cultures that have shared African roots, but radically altered by the passage of time, cross-cultural contact and musical hybridity. Furthermore, the author argues that diatonic rhythms and nested looping structures can provide a means of actively articulating connections between different diasporic musical traditions as evidenced by some of Steve Coleman’s musical collaborations, including his pioneering work from the mid-1990s with Metrics.

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24

Eisenberg, Andrew J. "African musics in context: institutions, culture, identity; Ethnomusicology in East Africa: perspectives from Uganda and beyond." Ethnomusicology Forum 26, no. 2 (May 4, 2017): 269–71. http://dx.doi.org/10.1080/17411912.2017.1323658.

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25

Kwasi Dor, George Worlasi. "The second symposium of the ICTM Study Group of African Musics: selected highlights." Journal of the Musical Arts in Africa 15, no. 1-2 (July 3, 2018): 153–61. http://dx.doi.org/10.2989/18121004.2018.1556900.

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26

HEFFLEY, MIKE. "“O for a Thousand Tongues to Sing”: Anthony Braxton's Speculative Musics." Journal of the Society for American Music 2, no. 2 (May 2008): 203–33. http://dx.doi.org/10.1017/s1752196308080073.

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AbstractAnthony Braxton's opera Trillium R (1991): Shala Fears for the Poor is examined macroscopically, microscopically, and theoretically for its resonances with both spoken and written language. The latter is posited as an ur-technology spawning six more specialized technologies tropes, through which the macroscopic survey unfolds. Braxton's music is conflated with the academic discourse of “speculative musicology” and the genre of “speculative fiction,” the literary arena of most fertile explorations of technological potential. The microscopic study examines the relationship between Braxton's libretto and music in the score, and that between the determinate and indeterminate in both, as the techne (tool) of its effectiveness. Finally, the article explains Braxton's work through its European, African, Asian, and Native American influences.

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27

McLachlan, Neil. "A Spatial Theory of Rhythmic Resolution." Leonardo Music Journal 10 (December 2000): 61–67. http://dx.doi.org/10.1162/096112100570468.

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Cyclic arrays, such as clock faces, have advantages over linear arrays for conceptualizing repetitive rhythmic structures. The author maps rhythms from African and Indonesian musics into cyclic arrays and analyzes them using concepts from Gestalt psychology, mathematical group theory and psycho-acoustics. The perceptual structures thus revealed exist between the different musical parts played on various instruments and contradict the usual processes of auditory segregation according to the physical locations of instrumentation. This prompts a proposal for a theory of musical despatialization to explain the psychological efficacy of these rhythms.

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28

WARNES, ANDREW. "Black, white and blue: the racial antagonism of The Smiths’ record sleeves." Popular Music 27, no. 1 (December 13, 2007): 135–49. http://dx.doi.org/10.1017/s0261143008001463.

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AbstractAs Matthew Bannister has recently suggested in these pages (see Popular Music, 25/1), The Smiths stand at the head of a 1980s Indie canon based on its rejection of a commodification associated with contemporary black US musics. This article argues that this racial understanding has also bled into the band’s critical reception, encouraging many to assume that Morrissey and Marr drew on exclusively white influences. Specifically, I argue that the white camp icons from the 1950s and 1960s who famously adorn the band’s record sleeves together form a kind of smokescreen, or ‘beard’, which stokes interest in Morrissey’s sexual predilections and orients it away from his and Marr’s Black Atlantic sources. The pre-immigrant Britain summoned up by these icons, I argue, helps prevent fans and critics alike from grasping that Morrissey’s lyrical attempts to find humour and succour by remembering pain is profoundly inspired by the African-American form of the Blues.

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29

Cockrell, Dale. "Of Gospel Hymns, Minstrel Shows, and Jubilee Singers: Toward Some Black South African Musics." American Music 5, no. 4 (1987): 417. http://dx.doi.org/10.2307/3051450.

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30

WEISETHAUNET, HANS. "Is there such a thing as the ‘blue note’?" Popular Music 20, no. 1 (January 2001): 99–116. http://dx.doi.org/10.1017/s0261143001001337.

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Among the most frequently repeated formulae in the description of the traditions most often called Afro-American music, in particular the styles of jazz, blues, soul and rock, is the concept of the `blue note’. It may also seem that this is a most widely accepted idea. The ‘blue note’ is usually thought of as a kind of basic element in those styles, as constituting the `ethnic’ or ‘African’ aspect of those musics as opposed to the ‘Western’ contributions of harmony.My main attempt here is to step into the somewhat muddy waters of musicological and sociological/anthropoligical/ cultural studies discourses of ‘the blue’ and ask what the ‘blue idea’ really is about. In rethinking the concept of the ‘blue note’, I find it necessary to differentiate between two concerns that often seem to be somewhat unconsciously or muddily mixed together:(1) the idea of the ‘blue note’ as referring to pitch, thinking of the note as an ‘item’, commonly thought of as the slight altering of the minor third and the flattened seventh; and(2) the general concept of `blue feeling’ linked to the idea of playing ‘blue notes’: in short, the performance of music with a ‘blue feel’.

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31

Avorgbedor, Daniel. "African Music: a bibliographical guide to the traditional, popular, art, and liturgical musics of sub-Saharan Africa by John Gray Westport, CT, Greenwood Press, 1991. Pp. 489." Journal of Modern African Studies 30, no. 3 (September 1992): 527–28. http://dx.doi.org/10.1017/s0022278x00010958.

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32

Erlmann, Veit. "AFRICAN MUSIC: A BIBLIOGRAPHICAL GUIDE TO THE TRADITIONAL, POPULAR, ART, AND LITURGICAL MUSICS OF SUB-SAHARAN AFRICA, by John Gray, Greenwood Press, New York, 1991, xii + 499pp, 3 appendixes, 4 indexes." African Music: Journal of the International Library of African Music 7, no. 3 (1996): 116–17. http://dx.doi.org/10.21504/amj.v7i3.1974.

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33

Hoskins, Linus A. "Book Review: Bibliographies on Africa: African Music, Traditional Religion, Film and Television, and Theater: African Music: A Bibliographical Guide to the Traditional, Popular, Art, and Liturgical Musics of Sub-Saharan Africa, Ashe, Traditional Religion and Healing in Sub-Saharan Africa and the Diaspora: A Classified International Bibliography, Blacks in Film and Television: A Pan-African Bibliography of Films, Filmakers, and Performers, Black Theatre and Performance: A Pan-African Bibliography." A Current Bibliography on African Affairs 23, no. 1 (March 1991): 19–22. http://dx.doi.org/10.1177/001132559102300103.

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34

CHRISMAN, LAURA. "American Jubilee Choirs, Industrial Capitalism, and Black South Africa." Journal of American Studies 52, no. 2 (May 2018): 274–96. http://dx.doi.org/10.1017/s002187581700189x.

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Focusing on the Virginia Jubilee Singers, an African American singing ensemble that toured South Africa in the late nineteenth century, this article reveals how the transnational reach of commercialized black music informed debates about race, modernity, and black nationalism in South Africa. The South African performances of the Jubilee Singers enlivened debates concerning race, labor and the place of black South Africans in a rapidly industrializing South Africa. A visit from the first generation of global black American superstars fueled both white and black concerns about the racial political economy. The sonic actions of the Jubilee Singers were therefore a springboard for black South African claims for recognition as modern, educated and educable subjects, capable of, and entitled to, the full apparatus, and insignia, of liberal self-determination. Although black South Africans welcomed the Jubilee Singers enthusiastically, the article cautions against reading their positive reception as evidence that black Africans had no agenda of their own and looked to African Americans as their leaders in a joint struggle.

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35

Pasler, Jann. "Music and African Diplomacy at the Festival Mondial des Arts Nègres, Dakar, 1966." Diplomatica 3, no. 2 (December 28, 2021): 302–34. http://dx.doi.org/10.1163/25891774-03020004.

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Abstract To celebrate independence from France and promote better understanding between “continents, races, and cultures,” in 1966 Senegal produced the World Festival of Negro Arts. Forty-five nations participated. At its core were diplomatic goals involving music. Not only could music help Africans recover their pre-colonial heritage, it encouraged dialogue among cultures and cultural development fueling liberation from the colonial past. Listening for what was shared, as in jazz, and cooperating internationally, as in the Gorée spectacle and recordings competition, encouraged mutual understanding, the basis of alliances world-wide, essential for prosperity. By including African Catholic music, anglophone as well as francophone contributions, and radio broadcasts across Africa, the festival promoted inter-African alliances, necessary for lasting peace in Africa. Here, amid the cold war and this diverse soundscape of musical activities in Dakar, an African mode of diplomacy found its voice and its power. Dialogue, exchange, and cooperation would inspire a new future.

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36

Adedeji, Femi. "Singing and Suffering in Africa A Study of Selected Relevant Texts of Nigerian Gospel Music." Matatu 40, no. 1 (December 1, 2012): 411–25. http://dx.doi.org/10.1163/18757421-040001027.

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A major aspect of African music which has often been underscored in Musicological studies and which undoubtedly is the most important to Africans, is the textual content. Its significance in African musicology is based on the fact that African music itself; whether traditional ethnic, folk, art or contemporary, is text-bound and besides, the issue of meaning 'what is a song saying?' is paramount to Africans, whereas to Westerners the musical elements are more important. This is why the textual content should be given more priority. In terms of the textual content, Nigerian gospel music, an African contemporary musical genre which concerns itself with evangelizing lost souls, is also used as an instrument of socio-political and economic struggle. One of the issues that have been prominent in the song-texts is the suffering of the masses in Africa. This essay aims at taking a closer look at the selected relevant texts in order to interpret them, determine their message, and evaluate their claims and veracity. Using ethnomusicological, theological, and literary-analytical approaches, the essay classifies the texts into categories, finding most of the claims in the texts to be true assessments of the suffering conditions of the Nigerian masses. The essay concludes by stressing the need to pay more attention to the voice of the masses through gospel artists and for people in the humanities to work energetically towards fostering permanent solutions to the problem of suffering in Africa in general.

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37

Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.

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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.

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Oehrle, Elizabeth. "Education Through Music: Towards A South African Approach." British Journal of Music Education 10, no. 3 (November 1993): 255–61. http://dx.doi.org/10.1017/s0265051700001790.

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Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.

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Werth, Alex. "Before BBQ Becky." Journal of Popular Music Studies 33, no. 4 (December 1, 2021): 78–103. http://dx.doi.org/10.1525/jpms.2021.33.4.78.

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In 2018, a White woman called the police on two Black men who were holding a cookout on the shores of Lake Merritt in Oakland, CA. Branded “BBQ Becky” by Black Twitter, this incident ricocheted around the digital mediascape, contributing to a national debate about racist policing and the dangers of “living while Black.” Many commentators interpreted the struggle over Black cultural practices at Lake Merritt in terms of the now common, even generic, narrative of tech-induced gentrification in the Bay Area. But this elided the fact that the violence of BBQ Becky reproduced an enduring drive to regulate Black geographies and sounds as a means to control the post-emancipation social order. This article argues that scholars and activists need to attune to the “racial reverberations” that continue to loop in contemporary spatial struggles, especially ones involving sound. Drawing upon archival and ethnographic materials, it provides a recursive account of struggles over Black public cultures in Oakland from World War II until the present, thus suggesting that the racial/spatial control embodied in BBQ Becky can’t be reduced to the gentrification narrative alone. Ultimately, this article centers the temporalities of African American epistemologies and musics to realign U.S. gentrification studies with the haunting rhythms of geographic harm and repair experienced by those most impacted by urban dispossession.

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Emielu, Austin. "Some theoretical perspectives on African popular music." Popular Music 30, no. 3 (September 21, 2011): 371–88. http://dx.doi.org/10.1017/s0261143011000249.

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AbstractPopular music occupies a dominant position in the musical landscape of contemporary Africa, yet academic study of popular music is still in its infancy in most parts of Africa. This may be due in part to the absence of theoretical frameworks that stimulate popular music discourses from the African perspective. This paper is an attempt to fill this lacuna. Based on a critical and qualitative analysis of data gathered from field situations, participant observation, interviews and published literary materials on the subject matter, the paper theorises that the creation of African popular music is characterised by two significant processes: indigenisation and syncretisation. The paper further states that African popular music is a socially responsive phenomenon, sustained through the interplay of cross-cultural and trans-national social dynamics. The paper therefore proposes ‘social reconstructionism’ as a new theoretical paradigm for the analysis of African popular music. The paper also suggests that the term ‘African pop’ should be adopted as a generic name for all popular music forms in Africa.

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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

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Tsekpoe, Christian. "Changing Metaphors in African Theologies: Influences from Digital Cultures." Studies in World Christianity 28, no. 1 (March 2022): 71–86. http://dx.doi.org/10.3366/swc.2022.0371.

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The incursion of globalisation presents both opportunities and challenges for mission in Africa. This is especially visible among the younger generation whose cultural perspectives have been influenced by global digital cultures. Although the youth in Africa are very much aware of their indigenous identities, they also participate actively with their peers elsewhere around the globe. As a result of these global interactions, many of the pre-colonial theological metaphors which have been accepted as authentic grassroots African theologies seem to have become less meaningful to emerging generations. Analysing contemporary oral sources such as music, prayers, poetry and everyday conversation among young Africans, this paper argues that there is a seismic shift in theological metaphors that speak meaningfully to the contexts of emerging Africans. The paper argues that many young people in contemporary Ghana, for example, do not see mmoatia (dwarfs) and sasabonsam (forest monster) as symbols of threat: they have new threats. A theology that describes Jesus as a hunter could be so impotent in the face of contemporary realities of some young people in Ghana, as Western theologies made a corresponding adjustment in Majority World countries a few decades ago. The paper concludes that these changing metaphors have implications for local theologies in Africa and must be engaged by theologians, missionaries and all who are interested in African theologies for the purpose of meaningful contextualisation in contemporary African Christianity.

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Collins, John. "Musical Feedback: African America’s Music in Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 26–27. http://dx.doi.org/10.1017/s0047160700502315.

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Since the end of the nineteenth century, black music has been prominent in the international arena—from ragtime to rumba and jazz, right up to today’s black and white fusions. Dance music and drama originally from Africa were adapted to the New World, creating an enormous impact there and feeding back into the mainstream of music in Africa itself. This double transformation, brought about by leaving and returning home, has created a truly international music-style in Africa, and yet one that is doubly African.

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Isiorhovoja, Osbert Uyovwieyovwe. "Understanding African Socio-Cultural Context: Contemporary Challenges to Christian Missions in the 21st Century." East African Journal of Traditions, Culture and Religion 3, no. 2 (October 4, 2021): 90–97. http://dx.doi.org/10.37284/eajtcr.3.2.427.

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Heuristically, the paper seeks to understand the religious perception of Africans otherwise regarded as the indigenous people and their contact with the missionary message. It adopts a historical, hermeneutical, and critical interpretation of some preconceived ideas about Africans as well as their reactions to the gospel message. It discovers that the introduction of the faith was done with clear intentions; slavery and economic exploitation, prejudices, and hence the demeaning attitude and bastardisation of the rich socio-cultural background of the people. However, the wisdom of the continent paved the way for the accommodation of messages. The paper concludes by recommending the following as some of the way forward: the messenger bearing the message should seek to know the socio-cultural background of African tradition, the Jesus’ attitude of non-condemnation should be adopted as a global standard for all missionary volunteers to present-day Africa in order to put on record the right perspective about the people and lastly, African charismatic which has played a dominant role in the daily lives of the people has been enculturated into the life of the churches in Africa as evidenced in the dance pattern and gospel music, these should be greatly encouraged.

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Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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Agawu, Kofi. "The Challenge of African Art Music." Circuit 21, no. 2 (July 21, 2011): 49–64. http://dx.doi.org/10.7202/1005272ar.

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This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a new anthology, Piano Music of Africa and the African Diaspora, edited by Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the encounters of Steve Reich and György Ligeti with various African repertories. Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, Uzoigwe, Euba, Labi and Osman serve as illustration.

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Okeke, Remi Chukwudi. "Politics, Music and Social Mobilization in Africa: The Nigeria Narrative and Extant Tendencies." International Letters of Social and Humanistic Sciences 86 (March 2019): 28–41. http://dx.doi.org/10.18052/www.scipress.com/ilshs.86.28.

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The impact of music on politics in Africa has seemingly remained dominant. But the overall sway of the African political processes has also become bewildering. The panacea to the disconcerting results of these political procedures in Africa is the adequate levels of social mobilization, while music ostensibly mobilizes massively. This chapter thus examines the linkages among politics, music and social mobilization in Nigeria (the most populous African country). Framed on the hypothesis that the relationship among politics, music and social mobilization in Nigeria (Africa) is now downbeat and using the elite theoretical and the political economy frameworks of analyses, the authors study the intervening factors responsible for the observed gloom in what had amounted to progressive relationships among politics, music and social mobilization in Nigeria and the wider continent. The research setting is qualitative. The chapter delves into its premises through the historical and descriptive research methodologies and logical argumentation.

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Muller, S. J. "Imagining Afrikaners musically: Reflections on the ‘African music’ of Stefans Grové." Literator 21, no. 3 (April 26, 2000): 123–38. http://dx.doi.org/10.4102/lit.v21i3.504.

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For nearly two decades Stefans Grové has been composing music that absorbs the cultural “Other" of Africa in a manner that defies an easy classification of ‘‘indigenous’’ principles and “exotic” appropriation. His own conception of himself as an African who composes African music challenges the inhibition of “white” Afrikaner culture and revivifies Afrikaner culture as African culture. In so doing, Grové is consciously subverting the myth of a united Africa over against a monolithic "West” - and with it the legitimacy of an autochthonous echt African culture previously excluded by “whites" and Afrikaners. This article takes a closer look at the strategies and techniques involved in this fin de siècle musical imaginings of Afrikaner identity.

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Rae, Caroline. "Piano Music of Africa and the African Diaspora, Vol. 1Piano Music of Africa and the African Diaspora, Vol. 2Piano Music of Africa and the African Diaspora, Vol. 3." Ethnomusicology 53, no. 1 (January 1, 2009): 146–51. http://dx.doi.org/10.2307/25653052.

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Solomon, Hussein. "Hendricks, M.N. (2020) Manufacturing Terrorism in Africa: The Securitisation of South African Muslims. Singapore: Palgrave Macmillan. — 247 p." State Religion and Church in Russia and Worldwide 40, no. 3 (2022): 322–27. http://dx.doi.org/10.22394/2073-7203-2022-40-3-322-327.

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