Relevant bibliographies by topics / Highlife (Music)

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

Academic literature on the topic 'Highlife (Music)'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Highlife (Music)"

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Millas Coffie, Mark. "A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’." Journal of Advanced Research and Multidisciplinary Studies 4, no. 3 (2024): 23–42. http://dx.doi.org/10.52589/jarms-4xpt3m5p.

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It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, colleges and universities. This paper, therefore, presents a characterisation of the diverse highlife music trends as an attempt to develop a conceptual framework for creating ‘neoclassic big-band highlife music’ that transcends diverse styles and generational tastes. Drawing on my experience as a highlife practitioner and music educator, I reviewed theories, concepts, and literature relevant to highlife music to conceptualise a framework for creating works that transcend the generational differences and tastes of highlife music. This paper expands the frontiers of highlife music practice and scholarship. Therefore, it is not just a recommendation but a call to action for Music composition professors to adopt this conceptual framework as a blueprint to begin a taught course on ‘Highlife Music Composition’ in music institutions. The involvement of Music composition professors in this process is crucial to enhancing the structural and theoretical trajectory of highlife music.
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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (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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Emielu, Austin, and Grace Takyi Donkor. "Highlife music without alcohol? Interrogating the concept of gospel highlife in Ghana and Nigeria." Journal of the Musical Arts in Africa 16, no. 1-2 (2019): 29–44. http://dx.doi.org/10.2989/18121004.2019.1690205.

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van der Geest, Sjaak. "Orphans in Highlife: An Anthropological Interpretation." History in Africa 31 (2004): 425–40. http://dx.doi.org/10.1017/s0361541300003582.

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In 1971 and 1973 I carried out anthropological fieldwork in Kwahu-Tafo, a rural town of about 5,000 inhabitants on the Kwahu plateau in the Eastern Region of Ghana. The first research project was a case study of the family I was staying with; the second was on ideas and practices concerning sex and birth control. As usual in anthropological research, my attention was drawn to many other things around me. One of these was Highlife. This short essay discusses the texts of some Highlife songs, which intriguingly related to my experiences in the field.It was impossible not to be struck by the importance of Highlife in the dreariness of daily life in Ghana. In the evenings large groups of young people assembled in front of the local bar to dance and listen to Highlife, the sounds of which resounded over the town. Many of the youngsters sang the texts along with the music. The typically empty interior contrasted strangely with the crowd outside. They were attracted not only by the music but also by the light—the bar was the only place in town with electricity. And, of course, it was the place to meet members of the opposite sex. Women and children were present to sell bread, tea, fried plantains, and other snacks. Around 10 p.m. the bar usually stopped the music; the lights went off, and the people dispersed. I became curious to know what the songs were about. Although I had learned some Twi, I was not able to understand them, so I asked someone to translate one text for me. The content aroused my interest and I decided to collect more Highlife texts. Various people helped me: school pupils, teachers, university students, and others. After recording the songs I had them transcribed in Twi and then translated into English.
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Agyekum, Kofi, Joshua Amuah, and Adwoa Arhine. "Proverbs and stylistic devices of Akwasi Ampofo Agyei’s Akan highlife lyrics." Legon Journal of the Humanities 31, no. 1 (2020): 117–44. http://dx.doi.org/10.4314/ljh.v31i1.5.

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This paper examines the stylistic features and proverbs in ɔba nyansafo wɔbu no bɛ na wɔnka no asɛm, ‘A wise child is spoken to in proverbs’ a popular Ghanaian highlife song by the late Akwasi Ampofo Agyei. This is an area which is still grey in the study of highlife music. The paper basically adopted qualitative methodology through interviews and recordings. The paper combines the theories of language ideology and ethnomusicology, and looks at the indispensable, didactic and communicative functions of stylistic devices and proverbs in Akan highlife. These tropes as forms of indirection help the musicians to comment on very delicate issues. They depict the musician’s communicative competence in the Akan language, cultural beliefs, worldview and social structures. The paper further reflects on the relative absence of proverbs in current Ghanaian highlife. The stylistic devices and proverbs in the song are subjected to ethnomusicological, stylistic and pragmatic analysis.
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Agyekum, Kofi, Joshua Amuah, and Adwoa Arhine. "Proverbs and stylistic devices of Akwasi Ampofo Agyei’s Akan highlife lyrics." Legon Journal of the Humanities 31, no. 1 (2020): 117–44. http://dx.doi.org/10.4314/ljh.v31i1.5.

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This paper examines the stylistic features and proverbs in ɔba nyansafo wɔbu no bɛ na wɔnka no asɛm, ‘A wise child is spoken to in proverbs’ a popular Ghanaian highlife song by the late Akwasi Ampofo Agyei. This is an area which is still grey in the study of highlife music. The paper basically adopted qualitative methodology through interviews and recordings. The paper combines the theories of language ideology and ethnomusicology, and looks at the indispensable, didactic and communicative functions of stylistic devices and proverbs in Akan highlife. These tropes as forms of indirection help the musicians to comment on very delicate issues. They depict the musician’s communicative competence in the Akan language, cultural beliefs, worldview and social structures. The paper further reflects on the relative absence of proverbs in current Ghanaian highlife. The stylistic devices and proverbs in the song are subjected to ethnomusicological, stylistic and pragmatic analysis.
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Madichie, Nnamdi O. "Highlife Music in West Africa: Down Memory Lane." Management Research Review 40, no. 1 (2017): 116–19. http://dx.doi.org/10.1108/mrr-08-2016-0201.

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Onwuegbuna, Ikenna Emmanuel. "Trends in Stylistic Developments of Nigerian Highlife Music." Nsukka Journal of the Humanities 30, no. 1 (2022): 1–20. http://dx.doi.org/10.62250/nsuk.2022.30.1.1-20.

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G., Kwasi, Mark M.C., and Hope S.K. "Live Sound Reinforcement in Ghanaian Popular Music Scene (1940s–1950s)." Journal of Advanced Research and Multidisciplinary Studies 2, no. 1 (2022): 18–28. http://dx.doi.org/10.52589/jarms-tjfbwnme.

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Live sound reinforcement has always been associated with popular music performances. However, the type of live sound reinforcement strategies and techniques employed at any given time depends on the technology available to practitioners. The 1940s–1950s represents the emergence and development of highlife big-bands and a social change in the Gold Coast, where people were becoming economically sound to enjoy evening outings. This phenomenon, however, presented live entertainers with a new challenge of reaching more audiences with their performances. In this paper, we look at the live sound reinforcement strategies employed by highlife big-bands of the 1940s–1950s and how the available technology enhanced their performances in Ghana under the period of review. Using interviews, document and audio reviews for data collection, we draw attention to Vortexion amplifier and its influences on the live sound reinforcement practices and live performance in Ghana. Subsequently, we conclude that the live sound strategies in an era mirror the performance practices and their direct influences on the performers.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.

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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Dissertations / Theses on the topic "Highlife (Music)"

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Bender, Wolfgang. "Der nigerianische Highlife : Musik und Kunst in der populären Kultur der 50er und 60er Jahre /." Wuppertal Hammer, 2007. http://deposit.ddb.de/cgi-bin/dokserv?id=2750616&prov=M&dok_var=1&dok_ext=htm.

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Boateng, Samuel. "POPULAR MUSIC IN GHANA: WOMEN AND THE CHANGING PERSPECTIVES ON GENDER AND SEXUALITY." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1466179979.

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Freitas-Fernandes, Aurélien. "Le Concert Party hier et aujourd’hui en Afrique de l’ouest : une enquête de terrain (évolution histoire, question dramaturgiques, enjeux esthétiques et sociologiques)." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030030.

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Cette thèse en Études théâtrales, assortie d’un film scientifique documentaire, s’appuie sur une enquête de terrain aussi historique qu’anthropologique qui vise à comprendre les enjeux dramaturgiques et sociologiques d’un genre de Cabaret-Théâtre musical nommé le Concert Party. De ses origines aux temps de la colonisation, jusqu’à nos jours, le Concert Party s’est inscrit en Afrique de l’Ouest comme un mouvement artistique extrêmement populaire et subversif. Produits en langue vernaculaire (twi, ewe, mina…), associés à de la musique Highlife et s’appuyant sur des travestissements, des maquillages et une dramaturgie extrêmement codés, les spectacles se jouent encore dans les maquis des grandes et moyennes villes de la côte ouest-africaine et s’amusent avec dérision à retourner les représentations coloniales et racistes tout en résistant à l’aliénation culturelle et aux pouvoirs politiques. Né en 1930 en Gold Coast (aujourd’hui le Ghana), le genre s’est exporté, après les Indépendances, vers son pays voisin le Togo en 1965. Mais le genre va connaître dans ces deux pays un destin bien différent, sans perdre pour autant sa force subversive. La recherche, qui s’attache à l’histoire et aux mutations du genre jusqu’à son devenir actuel, est adossée à un travail d’investigation entrepris lors de plusieurs séjours au Ghana et au Togo, ainsi qu’à des expériences de terrain faites de l’intérieur. Elle a en effet été menée, entre autres, en immersion au sein de l’Azé Kokovivina Concert Band, la dernière grande compagnie de Concert Party du Togo, créée en 1985. Ce qui a également permis de réaliser un collectage d’archives, de témoignages et de traces vidéo sous la forme d’un reportage scientifique<br>This thesis in Theatre Studies, accompanied by a scientific documentary film, is based on a historical and anthropological field study that aims to understand the dramaturgical and sociological issues of a genre of musical cabaret theatre called the Concert Party. From its origins during the colonial period to the present day, the Concert Party has been an extremely popular and subversive artistic movement in West Africa. Produced in the vernacular (Twi, Ewe, Mina...), associated with highlife music and relying on highly coded disguises, make-up and dramaturgy, the shows are still performed in the maquis of the large and medium-sized cities of the West African coast and derisively enjoy turning colonial and racist representations on their head while resisting cultural alienation and political powers. Born in 1930 in the Gold Coast (now Ghana), the genre was exported to its neighbouring country Togo in 1965 after independence. However, the genre's fate in these two countries was very different, without losing its subversive force. The research, which focuses on the history and mutations of the genre up to its present day, is based on research undertaken during several visits to Ghana and Togo, as well as on field experiences from the inside. It was carried out, among other things, by immersion in the Azé Kokovivina Concert Band, Togo's last great concert party company, created in 1985. This also made it possible to collect archives, testimonies and video traces in the form of a scientific report
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Books on the topic "Highlife (Music)"

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Florent, Mazzoleni, ed. Ghana highlife music. Le Castor Astral Editions, 2012.

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Emielu, Austin 'Maro. Nigerian highlife music. Centre for Black and African Arts and Civilization (CBAAC), 2013.

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Collins, John. Highlife time. Anansesem Publications, 1994.

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John, Collins. E.T. Mensah, king of highlife. Anansesem Publications, 1996.

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Highlife Time 3. DAkpabli & Associates, 2018.

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The highlife years: History of highlife music in Nigeria. Effective Publishers, 1995.

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Network, World Music. The Rough Guide to Highlife Music. Rough Guides, 2003.

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E.T. Mensah, the king of highlife. Off the Record Press, 1986.

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Highlife music in West Africa: Down memory lane--. Malthouse Press, 2009.

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Highlife Giants: West African Dance Band Pioneers. Cassava Republic Press, 2017.

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Book chapters on the topic "Highlife (Music)"

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"HIGHLIFE." In Music in the 20th Century (3 Vol Set). Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-210.

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Ofuani, Sunday. "Applied Theory of Nigerian Highlife." In Contemporary Dimensions in Nigerian Music. Malthouse Press, 2021. http://dx.doi.org/10.2307/jj.8155050.20.

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"From Burger Highlife to Gospel Highlife: Music, Migration, and the Ghanaian Diaspora." In The Globalization of Musics in Transit. Routledge, 2013. http://dx.doi.org/10.4324/9780203082911-21.

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Omojola, Bode. "Politics, Identity, and Nostalgia in Nigerian Music: A Study of Victor Olaiya’s Highlife." In Music and Identity Politics. Routledge, 2017. http://dx.doi.org/10.4324/9781315090986-16.

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Weltak, Marcel. "Bigi Poku and Kaseko." In Surinamese Music in the Netherlands and Suriname. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0006.

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This chapter discusses the features of the music and instrumentation of the two most popular forms of Afro-Surinamese music. It also gives portraits of key players up until 1990. Kaseko does not deviate all that much from such other African music styles such as highlife from Ghana and soukous from Congo, which in turn have been influenced by calypso, samba, and Cuban music. One explanation of the world kaseko is that it is a corruption of ‘kase le corp’, Patois for ‘break the body’ (Patois is the creolized French spoken in neighboring French Guiana). In general, dance music in that country—and in the Lawa region of eastern Suriname—is also referred to as kaseko. A third possibility is that the word derives from the African language (presumably Ashanti) ‘kaiso’, which means both ‘shake’ and ‘bravo’. In that case, kaseko would then share the same root of the name with calypso.
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Conference papers on the topic "Highlife (Music)"

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Folorunso, S. O., O. O. Banjo, J. B. Awotunde, and F. E. Ayo. "Machine Learning Analysis of Music Based on Music Information Retrieval Tasks." In International Workshop on Social Impact of AI for Africa 2022. AIJR Publisher, 2024. http://dx.doi.org/10.21467/proceedings.157.3.

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Music Information Retrieval (MIR) methods extracts from music high-level information like classification, musical feature extraction, song similarity and tonality. Musical genre is one of the orthodox methods of describing musical content and a significant part of MIR. At present, few MIR research has been done on Nigerian songs. So, this paper proposed to build a genre classification model based on Mel Spectrogram of audio songs. The process first converts ORIN audio dataset to Mel Spectrogram and extract numerical information from it using the Histogram of Oriented Gradient (HOG) and apply machine learning (ML) models to accurately categorize the songs into different genres of Apala, Fuji, Juju, Highlife and Waka. Support Vector Machine (SVM) with 4 different kernels, with 10- cross validation method were applied and assessed based on Accuracy and Receiver operating characteristics (ROC).
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