Relevant bibliographies by topics / Highlife (Music)

Contents

  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, c
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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 impo
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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 t
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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 t
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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 rein
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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 ex
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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 maquilla
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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 m
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