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Relevant bibliographies by topics / Ghatam music

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Academic literature on the topic 'Ghatam music'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Ghatam music"

1

Sari, Ayi Puspita, Ahmad Saepudin, and Siti Rohmat. "Analisis Jual Beli Manggis Sistem Borongan Sekali Musim Panen Dalam Perspektif Ekonomi Syari’ah Di Desa Wanasari Kecamatan Wanayasa Kabupaten Purwakarta." EKSISBANK: Ekonomi Syariah dan Bisnis Perbankan 3, no. 2 (December 29, 2019): 186–96. http://dx.doi.org/10.37726/ee.v3i2.80.

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Tujuan dari penelitian ini yaitu untuk mengetahui sistem jual beli manggis secara borongan dengan akad perjanjian sekali musim panen manggis sudah sesuai berdasarkan akad Syari’ah atau masih terdapat unsur gharar dalam jual beli manggis ini. Metode penelitian yang digunakan yaitu metode kualitatif dengan pendekatan studi kasus. Teknik pengumpulan data dilakukan secara triangulasi, yaitu mengumpulkan data tentang sistem jual beli manggis secara borongan melalui observasi, wawancara, dan dokumentasi kepada penjual dan pembeli manggis di tempat tersebut. Kemudian hasil dari penelitian akan dianalisis dengan cara mereduksi data, melakukan penyajian data dan menarik kesimpulan. Hasil dari penelitian ini menunjukkan bahwa jual beli manggis secara borongan dengan menggunakan akad perjanjian sekali musim panen, dilakukan sebelum manggis layak dipanen dengan perjanjian penyerahan manggis diserahkan ketika musim panen tiba dengan syarat manggis berbuah lebat, sedangkan penyerahan uang dilakukan ketika terjadi awal akad. Apabila gagal panen buah lebat, maka uang pembeli tidak kembali, tetapi menunggu panen manggis lebat berikutnya. Jual beli manggis secara borongan dalam perspektif ekonomi Islam termasuk jual beli gharar atau jual beli ghaib karena tidak memenuhi syarat dan rukun jual beli, tidak ada kejelasan dalam penyerahan manggis. Saran dari penulis, jual beli manggis lebih baik dilakukan ketika manggis sudah layak dipanen, guna menghindari gharar jual beli.

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Dissertations / Theses on the topic "Ghatam music"

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Terpenning, Steven Tyler Spinner. "Choral Music, Hybridity, and Postcolonial Consciousness in Ghana." Thesis, University of Colorado at Boulder, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271023.

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Ghanaian choral music emerged from the colonial experience through a process of musical hybridity and became relevant in the post-independent state of Ghana. This dissertation begins by exploring how two distinct musical forms developed from within the Methodist and Presbyterian missions in the nineteenth and early twentieth centuries. These musical forms utilized both European hymn harmony and local musical features. The institutional histories and structures of these missions explain the significance of this hybridity and distinct characteristics of the forms. These local-language choral works spread through these institutions despite the attempts of people in leadership positions to keep local culture separate from Christian schools and churches. The fourth chapter explores the broader social impact of the choral tradition that emerged from the Presbyterian mission, and its implications for the national independence movement through the history of one choral work composed by 1929 by Ephraim Amu. Then, based on a case study of the Ghana Broadcasting Corporation and its workplace choir, I examine how intellectual leaders such as Kwabena Nketia have, in the context of the post-independent state of Ghana, promoted choral music as an aspect of national development and unity. Ethnographic work at the GBC reveals the sometimes contentious negotiations that are involved in this process. This dissertation is based on both ethnographic and archival research conducted during three research trips to Ghana from 2012 to 2015. This research reveals how Ghanaians have challenged colonial ideology through composing and performing choral music. Peircian semiotics and postcolonial theory provides a framework for exploring how the hybridity of choral music in Ghana has contributed to the development of postcolonial consciousness there.

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Kerfoot, Janice. "Babylon boys don't dance : music, meaning, and young men in Accra." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99727.

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This thesis explores the landscape of popular music culture in Accra as it is experienced by a loosely interactive group of young self-identified rastafarians. The global pop-culture idiom born of the Jamaican socio-religious movement of rastafari allows these young Accrans to articulate self-concepts vis-a-vis very current trends in local and foreign youth cultures (such as hiphop), with reference to an ostensibly ageless collective identity. Questions of authenticity are made complex by the movement's weighty historical and political roots, its nuanced symbolic bonds with "local African culture", and the semiotic plasticity of its identifying practices. Ethnographic portions of this thesis are based on three months of fieldwork in Accra, during the summer of 2004. Key theoretical points are gleaned from a critical examination of early British Cultural Studies and its theoretical progeny, including the body of recent work tentatively dubbed "post-subcultural studies".

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Bergseth, Heather A. "Music of Ghana and Tanzania: A Brief Comparison and Description of Various African Music Schools." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1312917493.

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Uehlin, Robert. "Digitized Ghanaian Music: Empowering or Imperial?" Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17878.

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In the wake of the digital revolution, the Musicians' Union of Ghana has begun a massive campaign to re-establish its membership base, advocate for enforceable copyright policy changes, and introduce the technology necessary to make its members' music available for sale to digital consumers. However, despite the excitement behind this project, the vision of a professional class of musicians, enabled by the digitization and digital sale of Ghana's new and existing music, is problematic. Recent revenue reports collected from musicians based in the United States suggest that revenue collected from digital sales may not be the silver bullet Ghanaian musicians hope it will be. Analyzing corporate, government, development, and news documents, this study examines the history and the political economy of the current digitization efforts in Ghana to determine who claims to benefit from the project and who stands to bear the costs. Overall, this study recommends the introduction of new forms of cultural protectionism alongside existing copyright protections to avoid the potential exploitation associated with musical success. The empowering and imperial effects of the project are also debated.

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Wiggins, Trevor. "Issues for music and education in West Africa." Thesis, University of Plymouth, 1999. http://hdl.handle.net/10026.1/2802.

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My published output represents an ongoing engagement with the issues of studying, learning, understanding and transmitting music. More specifically, it has the music of Ghana in West Africa as its primary focus. This music is then considered from a number of points of view:- • as music, where the sonic events can be charted, documented and analysed • as 'ethnic' music where the function and meaning of this music for its culture can be considered • as a cultural artefact where the changing processes of transmission and preservation are observed • as pedagogical material where the nature of learning related to culture and the processes of translation by the teacher and the learner are examined. Music as object for documentation and discussion is a substantial part of Xylophone music from Ghana, the two articles in Composing the Music of Africa and the article in the British journal of Ethnomusicology as well as the COs, 'Bewaare - they are coming' Dagaare songs and dances from Nandom, Ghana and 'In the time of my fourth great-grandfather ... ' Western Sisaala music from Lambussie, Ghana. These same publications also consider the roles and function of the music within its culture. Music as a cultural artefact, its transmission and preservation, particularly in relation to formal education, is the focus of the two articles in the British journal of Music Education, the Music Teacher publication, the article in Cahiers de Musiques Traditionelles, and the ESEM conference paper. Pedagogical issues and materials form the basis for Music of West Africa, Kpatsa, and the symposium papers.

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Eger, Matthias. "Einflüsse auf die Musik Süd-Ghanas bis 1966." Universität Leipzig, 2004. https://ul.qucosa.de/id/qucosa%3A33565.

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This volume describes the influences that shaped music in southern Ghana before 1966. It is divided into three chapters, covering the periods up to the mid-19th century, from then until the 1930s and from then until the first decade of Independence. Topics covered include music in oral societies, the influence of Kru mariners, Christian missions and urbanisation, the recording industry and the role of nationalism.
Dieser Band beschreibt die Einflüsse, die die Musik im südlichen Ghana vor 1966 formten. Er setzt sich aus drei Teilen zusammen, wobei die Zeiträume bis zur Mitte des 19. Jahrhundert, von dort bis zu den 1930er Jahren und schließlich bis zur Unabhängigkeit beleuchtet werden. Die bearbeiteten Themen beinhalten Musik in oralen Gesellschaften, den Einfluss der ''Kru-Matrosen'', christliche Missionen und Verstädterung, sowie die Aufnahme-Industrie und die Rolle des Nationalismus.

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Gbagbo, Divine Kwasi. "Rites, Recreation, and Rulership: Christianity and Ewe Music of Ghana." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1620229836882229.

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Carl, Florian. "Berlin/Accra : music, travel, and the production of space /." Berlin : Lit, 2009. http://deposit.d-nb.de/cgi-bin/dokserv?id=3321294&prov=M&dok_var=1&dok_ext=htm.

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Carl, Florian. "Berlin, Accra music, travel, and the production of space." Berlin Münster Lit, 2007. http://d-nb.info/994761260/04.

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Gbagbo, Divine Kwasi. "The Continuity and Change in the Musical Traditions of the Avatime of Ghana." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1334588315.

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Books on the topic "Ghatam music"

1

Pālacantrarāju, Es. Kaṭam vācikkak kar̲r̲ukkoḷḷuṅkaḷ. Cen̲n̲ai: Maṇimēkalaip Piracuram, 1993.

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Moderne traditionen: Studien zur postkolonialien Musikgeschichte Ghanas. Frankfurt am Main: Peter Lang, 2008.

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The Evangelical Presbyterian Church, Ghana, and her musical tradition. Madina, Accra, Ghana: Royal Gold Publishers, 2004.

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Ghana's concert party theatre. Bloomington: Indiana University Press, 2001.

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Rajadhyaksha, Ashish. 3. Partition and the ‘all-India’ film. Oxford University Press, 2016. http://dx.doi.org/10.1093/actrade/9780198723097.003.0003.

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India officially became ‘independent’ in 1947 and a Republic in 1950. Neither were easy transitions. The cinema would inherit all of India’s political contradictions. It would soon become apparent that India, once incapable of creating an ‘Empire’ film, was now equally unable to provide the newly free country with a properly nationalist cinema. ‘Partition and the “all-India” film’ describes India’s film industry in Bombay after the war; the arrival of the most famous stars; the success of film music; and the impact of independent auteurs Satyajit Ray, Guru Dutt, and Ritwik Ghatak, who defined local industries as they emerged from out of the shadow of Bombay.

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Carwile, Christey. From Salsa to Salzonto. Edited by Anthony Shay and Barbara Sellers-Young. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199754281.013.026.

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Since its emergence among Spanish-speaking immigrants in New York City in the 1960s, salsa dance (and music) has become a quintessential symbol of Latin identity in and outside of the United States. The worldwide adoption of the dance has opened up new possibilities for identity construction. Using field research from Accra, Ghana, this chapter explores the ways in which salsa dance has come to inform a pan-African identity, creating moments where local ethnicities become deemphasized. “Traditional” dances in Ghana have historically been viewed as reflecting local “tribal” and/or ethnic identities and later appropriated by national dance companies as a way to construct and display a Ghanaian “national culture.” However, the adoption of salsa dance in Ghana is what I call an “inventive dance tradition,” one not espoused by colonial administrators or postcolonial leaders, but pioneered by a new generation of urban youth with more global agendas.

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Sur Māyā (Wealth of Music): ‘Ehd-e Hāzir kay riwāyatī aur jadīd gulū-kāron, mausīqāron aur geet nigāron kay interviews kā majmū‘a. Lahore, Pakistan: Al-Hamd Publications, 2011.

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Hogan, Brian. “They Say We Exchanged Our Eyes for the Xylophone”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.6.

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The funeral xylophone tradition of the Birifor people of Northwest Ghana is renowned across the West African hinterland for its musical artistry, cultural histories, surrogated song texts, and symbolic meaning. The Northwest as a whole has a historically high incidence of blindness, motivating a range of interpretations of visual impairment as disability. In rural Birifor communities, the music, bodies, and ability of blind xylophonists are filtered through a cultural ideology of ability that hijacks social conceptions of disability as biological deviance, and manufactures disability as spiritual deviance. This reveals a spiritual model of disability, which together with the mystical aspects of musicianship in Birifor culture, leads to a compound form of subordination for blind musicians. Against this culturally pervasive ableism, blind Birifor xylophonists compose and perform “enemy music” as an act of resistance, contestation, and catharsis that recasts disability as a lived reality and reframes the true locations of disability.

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Khubchandani, Kareem. Aunty Fever. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0012.

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This essay attends to origin stories of queerness and dance from the author’s younger years, to suggest that his contemporary manifestations of queer dance emerge from contexts that may not traditionally be labeled as “queer” or “dance.” He describes dance pedagogies offered by his Indian aunties in Ghana, to explain how they inform his queer choreographies and politics as a drag queen performing in the multicultural US nightclub and online. Specifically, he considers how he creates his drag persona, LaWhore Vagistan, blending Bollywood vocabulary and music with drag queen performance in a way that exceeds a colonizing, patriarchal, femme-phobic gaze.

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Alam, Homayun, ed. On the Concept of Iran and the Iranian Cultural Sphere. Tectum – ein Verlag in der Nomos Verlagsgesellschaft, 2021. http://dx.doi.org/10.5771/9783828876651.

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This book is in fact an attempt to make the geographical borders between today's Iran, its neighbors and the Persian as one of the historical cultural achievements more precise. Since the aim is interdisciplinary the participation of international scholars - but also international artists - this book serves a new format, which stimulates the reader to further research, perhaps also instructs for innovation. If researchers of the field consisting of contemporary and ancient Iranian studies, music ethnologists, filmmakers, historians, poets/songwriters, philologists, Islamic studies scientists, sociologists and political scientists contribute, the result will be this book. With contributions by Safar Abdullah, Homayun Alam, Ali M. Ansari, John Baily, Reza Deghati, Bert Fragner, Gabriele Dold Ghadar, Ahmad Karimi Hakkak, Philipp Gerrit Kreyenbroek, Sardar Kohistani, Makhmalbaf Film House, Nahid Morshedlou, Richard Stoneman, Hamid Reza Yousefi and Farid Zoland.

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Book chapters on the topic "Ghatam music"

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

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Adu-Gilmore, Leila. "Embodied Listening: Grassroots Governance in Electronic Dance Music Venues in Accra (Ghana)." In Electronic Cities, 243–60. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4741-0_15.

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"THE POETS IN GHANA." In The Music of Time, 440–62. Princeton University Press, 2020. http://dx.doi.org/10.2307/j.ctvp2n52z.27.

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"THE POETS IN GHANA." In The Music of Time, 440–62. Princeton University Press, 2020. http://dx.doi.org/10.1515/9780691201566-025.

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Omojola, Bode. "8. Art Music in Ghana: An Introduction." In Nigerian Art Music, 149–64. IFRA-Nigeria, 1995. http://dx.doi.org/10.4000/books.ifra.615.

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Narang, Gopi Chand. "The Rhetorical Aspects of the Urdu Ghazal." In The Urdu Ghazal, translated by Surinder Deol, 197–232. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190120795.003.0005.

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The Urdu ghazal is truly an Indian invention. Although initially it borrowed themes and legendary references from the Persian and Arab cultures, with the passage of time it became the mirror-image of blended Indian culture. The chapter explains how the ghazal incorporates Indian mythologies like the Ramayana and the Mahabharata, social and geographical features like rivers, festivals, customs and rituals, flowers and flowering trees, birds and animals, seasons and climate, cities and places, and finally music and ragas.

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"Sub-Saharan Africa: Ghana, Nigeria, Central Africa, Zimbabwe, Uganda, Senegal, The Republic of South Africa." In World Music, 352–401. Routledge, 2013. http://dx.doi.org/10.4324/9780203152980-15.

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Ampene, Kwasi. "Asante court music in historical perspective." In Asante Court Music and Verbal Arts in Ghana, 34–63. Routledge, 2020. http://dx.doi.org/10.4324/9780429340628-2.

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Reich, Steve. "Gahu—A Dance of the Ewe Tribe in Ghana (1971)." In Writings on Music 1965–2000, 56–63. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780195151152.003.0009.

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Osumare, Halifu. "Dancing in Africa." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0006.

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Chapter 5 records the author’s bold move to Ghana, West Africa for nine months to study and research the basis of black dance in the Americas. She studies the curriculum of the School of Music, Dance, and Drama (SMDD) at the University of Ghana, Legon, under the ethnomusicologist Dr. Kwabena Nketia and the dance ethnologist Professor Albert Opoku. She examines the development of the internationally touring Ghana Dance Ensemble. She also explores her personal relationships with other African Americans and Ghanaians to further interrogate race and blackness from the point of view of living in West Africa. She reminisces about how her dance fieldwork in five regions of Ghana and her excursion to Togo and Nigeria broadened her perspective on herself as African American in Africa.

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