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Journal articles on the topic 'Afro-beat'

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

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1

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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

KITLV, Redactie. "Book reviews." New West Indian Guide / Nieuwe West-Indische Gids 86, no. 3-4 (2012): 309–407. http://dx.doi.org/10.1163/13822373-90002420.

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A World Among these Islands: Essays on Literature, Race, and National Identity in Antillean America, by Roberto Márquez (reviewed by Peter Hulme) Caribbean Reasonings: The Thought of New World, The Quest for Decolonisation, edited by Brian Meeks & Norman Girvan (reviewed by Cary Fraser) Elusive Origins: The Enlightenment in the Modern Caribbean Historical Imagination, by Paul B. Miller (reviewed by Kerstin Oloff) Caribbean Perspectives on Modernity: Returning Medusa’s Gaze, by Maria Cristina Fumagalli (reviewed by Maureen Shay) Who Abolished Slavery: Slave Revolts and Abolitionism: A Debat
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12

Tabak, Lina S. "Short Notes on Strong Beats." Musica Theorica 7, no. 1 (2022). http://dx.doi.org/10.52930/mt.v7i1.213.

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Many scholars of Sub-Saharan repertoires often cite the ostensible metrical malleability of the music they study, without acknowledging that enculturated listeners usually only understand one metrical orientation to be correct. For instance, in several examples from Studies in African Music, A. M. Jones’ placements of contrasting barlines appear to be entirely dependent on where long notes fall in each staff: all relatively long durations are notated as falling on strong metrical placements. In this paper, I observe that short note values in certain Sub-Saharan and Afro-Diasporic repertoires s
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13

Irvine, Thomas, and Christopher J. Smith. "Minor Infrastructures: Genre and Petroleum Politics in the Music of Grace Chang and Fela Kuti." New Global Studies, June 26, 2025. https://doi.org/10.1515/ngs-2025-0009.

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Abstract This article explores the intersections of global energy infrastructures and musical genre formation, focusing on the careers of Grace Chang and Fela Kuti. The transition from coal to petroleum reshaped political and social landscapes globally. This transition influenced various industries, including music and film, by changing the material conditions that underpinned cultural production. This article argues that the concept of genre itself functions as an infrastructure, a symbolic object that encapsulates social, economic, and political conditions. Genres like jazz, mambo, and Afro-
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14

Castillo-Garsow, Melissa A. "Unspeakable Silences, When Poetry Ceases to be a Luxury, Black Tulips, My Eggs." PORTAL Journal of Multidisciplinary International Studies 10, no. 2 (2013). http://dx.doi.org/10.5130/portal.v10i2.3217.

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Melissa Castillo-Garsow is a Mexican-American writer, journalist, and scholar currently pursuing a PhD in American Studies and African American Studies at Yale University. Her short stories and poetry have been published in various journals including The Acentos Review, La Bloga, Hispanic Culture Review, and Hinchas de Poesia. Her first novel, Pure Bronx, co-written with Fordham Professor Mark Naison, is due for release Oct. 2013 from Augustus Publishing.
 
 Melissa completed her Master’s degree in English with a concentration in Creative Writing at Fordham University in 2011. Prior
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15

RUTH, A. ADERANTI, OYINLOLA ABIOLA, and O. OJUOLA BENJAMIN. "TYPES OF MUSIC AS CORRELATE OF DEVIANT BEHAVIOUR AMONG UNDERGRADUATES IN SELECTED UNIVERSITY IN OGUN STATE, NIGERIA." 17, no. 10 (2022): 1523–31. https://doi.org/10.5281/zenodo.7262596.

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<strong>Abstract</strong> <strong>Background: </strong>There are several assumptions that youth behaviour (good or deviant) is related to the kind of music they listen to, this study therefore has investigated into the type of music and deviant behaviour among undergraduates. <strong>Method: </strong>Descriptive survey research design was used to examine if any significant relationship exists between choice of music and deviant behaviour amongst undergraduate students. Stratified random sampling method was used to select 269 participants from a private university in Ogun State Nigeria.&nbsp; D
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16

Olúdáre Ph.D., ÒgúnyẹmíAdébáyọ́. "Trans-Atlantic Slave Trade, Social Change as Catalysts to Yoruba Popular Music." International Journal of Social Science Humanity & Management Research 04, no. 02 (2025). https://doi.org/10.58806/ijsshmr.2025.v4i2n16.

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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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17

Batra, Jaya, iacopo olivotto, and Mathew S. Maurer. "Abstract 16333: Racial Differences in Pressure-volume Relationships in Val122Ile Associated Cardiac Amyloidosis." Circulation 142, Suppl_3 (2020). http://dx.doi.org/10.1161/circ.142.suppl_3.16333.

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Background: Transthyretin cardiac amyloidosis (ATTR-CA) is the leading cause of restrictive cardiomyopathy in older adults. The valine-to-isoleucine substitution (Val122Ile) is the most common inherited variant in the U.S., primarily affecting patients of Afro-Caribbean descent. This variant has also been identified in white individuals in Northern Italy who present with a similar disease phenotype. It is unknown whether there are between-race differences in cardiac chamber function at diagnosis of Val122Ile associated ATTR-CA. Methods: In this retrospective study of 70 patients from two amylo
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18

Mercieca, Paul Dominic. "‘Southern’ Northern Soul: Changing Senses of Direction, Place, Space, Identity and Time." M/C Journal 20, no. 6 (2017). http://dx.doi.org/10.5204/mcj.1361.

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Music from Another Time – One Perth Night in 2009The following extract is taken from fieldwork notes from research into the enduring Northern Soul dance scene in Perth, Western Australia.It’s 9.30 and I’m walking towards the Hyde Park Hotel on a warm May night. I stop to talk to Jenny, from London, who tells me about her 1970s trip to India and teenage visits to soul clubs in Soho. I enter a cavernous low-ceilinged hall, which used to be a jazz venue and will be a Dan Murphy’s bottle shop before the year ends. South West Soul organiser Tommy, wearing 34-inch baggy trousers, gives me a Northern
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19

Viljoen, Martina. "Mzansi Magic." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2989.

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Introduction Jerusalema, a song from Mzansi — an informal isiZulu name for South Africa — became a global hit during the Covid-19 pandemic. Set to a repetitive, slow four-to-a-bar beat characteristic of South African house music, the gospel-influenced song was released through Open Mic Productions in 2019 by the DJ and record producer Kgaogelo Moagi, popularly known as ‘Master KG’. The production resulted from a collaboration between Master KG, the music producer Charmza The DJ, who composed the music, and the vocalist Nomcebo Zikode, who wrote the lyrics and performed the song for the master
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