Relevant bibliographies by topics / Afro-beat

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Afro-beat'

Author: Grafiati
Published: 7 June 2025
Last updated: 2 August 2025

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Journal articles on the topic "Afro-beat"

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Stevens, Anthony C., Janet M. Sharp, and Becky Nelson. "The Intersection of Two Unlikely Worlds: Ratios and Drums." Teaching Children Mathematics 7, no. 6 (2001): 376–83. http://dx.doi.org/10.5951/tcm.7.6.0376.

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When mathematics lessons are linked with personal experiences, typically, the result is that the student gains a stronger understanding of the content than if the lessons are isolated and unconnected. This premise was recently supported in a local fifth-grade classroom. The students learned to play three mathematically disparate rhythms on conga drums as an introduction to an exploration of ratio. Ratios connect naturally with African and Afro-Cuban drumming because the drummer's combination of many rhythms, each with a pattern repetition of different length results in a polyrhythmic song. The
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King, Deborah K. "Unraveling Fabric, Missing the Beat: Class and Gender in Afro-American Social Issues." Black Scholar 22, no. 3 (1992): 36–44. http://dx.doi.org/10.1080/00064246.1992.11413043.

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Joseph, Matthew Pessar. "“Our Buzzing Latin Cousins”: Afro-Latinxs, African Americans, and the Creation of a Black Transcultural Midtown Musical Scene, 1933–1966." Journal of American Ethnic History 44, no. 3 (2025): 5–38. https://doi.org/10.5406/19364695.44.3.01.

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Abstract After the Palladium Ballroom began hosting Afro-Cuban mambo groups in 1947, it became the foremost integrated dancehall to emerge in postwar New York City. This article examines Afro-Latinx and African American cultural mediators who helped forge a mixed-race midtown scene at the venue and at nearby jazz clubs. As Gotham became increasingly segregated, musicians and dancers refused to be confined to uptown neighborhoods. By forging an integrated midtown scene and making transcultural Afro-Cuban jazz music, they sought to rethink and remap the spatial contours of a divided city. While
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Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.

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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that bor
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ÒgúnyẹmíAdébáyọ́, Olúdáre Ph.D. "Trans-Atlantic Slave Trade, Social Change as Catalysts to Yoruba Popular Music." INTERNATIONAL JOURNAL OF SOCIAL SCIENCE HUMANITY & MANAGEMENT RESEARCH 04, no. 02 (2025): 397–405. https://doi.org/10.5281/zenodo.14948848.

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This paper interrogates how elements of African-American cultural practices that were imported to Lagos by returnee slaves influenced the social changes that heralded the emergence of a new form of popular music in Yoruba land. The paper also examines how this popular music of the Yoruba people made a stylistic return to the western shores and are now gaining recognition. The paper hinges on the intercultural theory by Akin Euba. Exploring ethnomusicological approach, the paper relies on archival and ethnographic sources to extrapolate data. Discussions in this paper are tailored towards estab
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Ademosu, Ifedolapo. "ANALYSIS OF MUSIC TEXT: FELA KUTI’s LADY AND WIZKID’s JAIYE JAIYE." Caleb Journal of Social and Management Science 5, no. 1 (2020): 62–88. http://dx.doi.org/10.26772/cjsms2020050104.

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The study investigates music lyrics in the Afro beat[s] genre focused on women. Using the lyrics of two songs connected by influence and textual elements, the researcher analysed Fela Kuti’s Lady and Wizkid’s Jaiye Jaiye. The study found out that the lyrics represent social nomenclatures of the times they were written and utilized repetition and metaphor as major rhetorical devices. While in Fela’s song, the repeated phrases represented the neo-colonialism tendencies and mannerisms of the 70s, the nuances of Wizkid’s song focused on the desire for lavish and affluent lifestyle of young people
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Hannerz, Ulf. "The world in creolisation." Africa 57, no. 4 (1987): 546–59. http://dx.doi.org/10.2307/1159899.

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Opening ParagraphFrom the time when I first became entangled with the Third World, in the late 1950s and early 1960s, I have been fascinated by those contemporary ways of life and thought which keep growing out of the interplay between imported and indigenous cultures. They are the cultures on display in market places, shanty towns, beer halls, night clubs, missionary book stores, railway waiting rooms, boarding schools, newspapers and television stations. Nigeria, the country I have been most closely in touch with in an on-and-off way for some time, because of its large size, perhaps, offers
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McNally, James G. "Conjured from Fragments: KMD's Mr. Hood and the Transformative Poetics of the Golden Age Rap Album." Journal of the Society for American Music 15, no. 4 (2021): 400–423. http://dx.doi.org/10.1017/s1752196321000298.

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AbstractBetween 1988 and 1991, the rap album took flight. Under the dual impetus of innovations in sampling, and of the album form itself, an explosion of youthful creativity ensured the rap album, mined for more self-consciously artistic potential, emerged as a multi-layered artform that revealed a similarly multi-layered Black genius. For innovators like the Bomb Squad (Public Enemy, Ice Cube, Son of Bazerk), Prince Paul (De La Soul) and others, the rap album was now often “more” than just a rap album. It could at once take on the characteristics of a radio show, a simulated game show, a tal
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 71, no. 3-4 (1997): 317–91. http://dx.doi.org/10.1163/13822373-90002612.

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-Leslie G. Desmangles, Joan Dayan, Haiti, history, and the Gods. Berkeley: University of California Press, 1995. xxiii + 339 pp.-Barry Chevannes, James T. Houk, Spirits, blood, and drums: The Orisha religion in Trinidad. Philadelphia: Temple University Press, 1995. xvi + 238 pp.-Barry Chevannes, Walter F. Pitts, Jr., Old ship of Zion: The Afro-Baptist ritual in the African Diaspora. New York: Oxford University Press, 1993. xvi + 199 pp.-Robert J. Stewart, Lewin L. Williams, Caribbean theology. New York: Peter Lang, 1994. xiii + 231 pp.-Robert J. Stewart, Barry Chevannes, Rastafari and other Af
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Thompson, Cheryl. "Standing in the Shadows of America: Afro-Diasporic Oral Culture and the Emancipation of Canadian Hip-Hop." Canadian Theatre Review 130 (March 2007): 113–16. http://dx.doi.org/10.3138/ctr.130.019.

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The origins of hip-hop can be traced back to the South Bronx, New York, in the late 1970s, appearing at a crucial juncture of post-industrial stagnation, increased family dissolution, and a weakened struggle for Black economic and political rights (Rose). While initially rap was deemed a passing fad, today, hip-hop is one of the dominant forces in popular culture. The terms “rap” and “hip-hop” are often used interchangeably, but “rap” is the active verb referring to an artist rhyming over top a rhythmic beat. “Hip-hop” refers to the culture of rap music, which includes three other elements — b
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Dissertations / Theses on the topic "Afro-beat"

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Barrozo, Maria Regiane da Silva Lopes. "Ethnical beat: o ritmo negro da música pop internacional-globalizada. Um estudo de cartografias sonoro-musicais híbridas como memória, agenciamento e performance das identificações afro americanas em contextos diaspóricos." Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tede/4904.

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Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-11-13T17:20:53Z No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5)<br>Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-16T09:27:07Z (GMT) No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5
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Books on the topic "Afro-beat"

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Publishing, Comicco. Blank Afro-Beat Comic Book: Draw Your Own Work and Hobby Comics Omg! Boom! Independently Published, 2019.

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Soussloff, Catherine. A Proposition for Reenactment. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.8.

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The chapter provides an examination of how the photographs by Stan Douglas use disco—the discotheque as a place, disco as the music that is played and heard in that place, and disco dancing as the social dance form that occurs in that place—and the rebel insurgency in Angola to suggest that fictional reenactments address an alternative approach to the false separation of history from time. A close reading of the photographs finds associative congruencies between African fighters, the Afro-beat of disco music, and the African-American roots of disco culture; between dressing for war and dressin
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Bailey, Randall C. Yet with a Steady Beat: U. S. Afrocentric Biblical Interpretation. Society of Biblical Literature, 2003.

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Berry, Mick, and Jason Gianni. Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco. See Sharp Press, 2012.

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Berry, Mick, and Jason Gianni. Drummer's Bible: How to Play Every Drum Style from Afro-Cuban to Zydeco. See Sharp Press, 2012.

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All about the beat: Why hip-hop can't save Black America. Gotham Books, 2008.

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Bailey, Randall C. Yet With a Steady Beat: Contemporary U.S. Afrocentric Biblical Interpretation (Society of Biblical Literature Semeia Studies). Society of Biblical Literature, 2003.

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Book chapters on the topic "Afro-beat"

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Dixon, Jessie D. "To the Beat of African Drums: Afro- Venezuelan Music and Identity through Betsayda Machado and La Parranda El Clavo1." In Music and Identity in Venezuela. Jenny Stanford Publishing, 2024. http://dx.doi.org/10.1201/9781032679921-5.

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"7. Afro-Beat." In The Beats. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474403986-009.

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Ohriner, Mitchell. "Flow and Free Rhythm in Talib Kweli." In Flow. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190670412.003.0008.

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Throughout his career, Talib Kweli has been called an “off-beat rapper.” Despite that highly derogatory comment, this chapter connects Kweli’s non-alignment with the underlying beat to earlier Afro-diasporic rhythmic practices. Kweli’s voice moves away from the beat through four distinct processes: phase shifting, swinging, tempo shifting, and deceleration. The last of these, while a hallmark of the rhythm of speech, has little relationship to the rhythm of music with a mechanically regulated beat. By documenting the non-alignment between flow and beat in a particular track (“Get By”), the cha
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Ohriner, Mitchell. "Flow, Metric Complexity, and Text in Eminem." In Flow. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190670412.003.0006.

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Eminem (aka Marshall Mathers) has attracted much scholarly and media attention for his abilities as a rhymer as well as the controversial content of his lyrics and his possible cultural appropriation. This chapter fills a gap in Eminem scholarship by examining his use of the vocal groove classes described in Chapter 4. Specifically, it shows how Eminem sequences vocal grooves in a way that creates rhythmic narratives of accruing metric complexity (i.e., the proportion of accented syllables not aligned with the beat or a beat’s midpoint). These rhythmic narratives often support and even foresha
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Santoro, Gene. "Latin Jazz." In The Oxford Companion To Jazz. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0040.

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Abstract In the beginning there was the beat, and it was manifold. Most jazz critics and historians rely on the all-purpose term swing, whose virtue resides at least partly in its evocative vagueness. But Jelly Roll Morton was more precise and expansive. While he was taking credit for jazz’s birth and development in his N’Awlins hometown, he famously noted “the Spanish Tinge,” which he deemed central to the nascent sound of surprise. Many since have paid lip service to Morton’s assertion, but only a few, like John Storm Roberts, have seriously pursued its implications. If the New World has bee
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