Relevant bibliographies by topics / Highlife (Music) Highlife (Music) Music Popular music Popular music Highlife Volkskultur Nigeria

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  1. Journal articles
  2. Dissertations / Theses
  3. Books

Academic literature on the topic 'Highlife (Music) Highlife (Music) Music Popular music Popular music Highlife Volkskultur Nigeria'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Highlife (Music) Highlife (Music) Music Popular music Popular music Highlife Volkskultur Nigeria"

1

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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KLEIN, DEBRA L. "Allow Peace to Reign: Musical Genres of Fújì and Islamic Allegorise Nigerian Unity in the Era of Boko Haram." Yearbook for Traditional Music 52 (October 12, 2020): 1–22. http://dx.doi.org/10.1017/ytm.2020.5.

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AbstractA proliferation of popular music genres flourished in post-independence Nigeria: highlife, jùjú, Afrobeat, and fújì. Originating within Yorùbá Muslim communities, the genres of fújì and Islamic are Islamised dance music genres characterised by their Arabic-influenced vocal style, Yorùbá praise poetry, driving percussion, and aesthetics of incorporation, flexibility, and cultural fusion. Based on analysis of interviews and performances in Ìlọrin in the 2010s, this article argues that the genres of fújì and Islamic allegorise Nigerian unity—an ideology of tolerance, peaceful coexistence, and equity—while exposing the gap between the aspiration for unity and everyday inequities shaped by gender and morality.
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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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4

Webb. "Highlife Saturday Night: Popular Music and Social Change in Urban Ghana." Journal of West African History 2, no. 1 (2016): 205. http://dx.doi.org/10.14321/jwestafrihist.2.1.0205.

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5

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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6

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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7

Salm, Steven J. "Nate Plageman. Highlife Saturday Night: Popular Music and Social Change in Urban Ghana." American Historical Review 119, no. 3 (2014): 1027–28. http://dx.doi.org/10.1093/ahr/119.3.1027.

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8

Coester, Markus. "Localising African popular music transnationally: ‘Highlife-Travellers’ in Britain in the 1950s and 1960s." Journal of African Cultural Studies 20, no. 2 (2008): 133–44. http://dx.doi.org/10.1080/13696810802522247.

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9

Saibou, Marceline. "Highlife Saturday Night: Popular Music and Social Change in Urban Ghana by Nate Plageman." Ghana Studies 20, no. 1 (2017): 223–25. http://dx.doi.org/10.1353/ghs.2017.0011.

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10

Arlt, Veit, and Ernst Lichtenhahn. "Recordings of African Popular Music: A Valuable Source for Historians of Africa." History in Africa 31 (2004): 389–91. http://dx.doi.org/10.1017/s0361541300003557.

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In December 2002 the Swiss Society for Ethnomusicology (CH-EM), in cooperation with the Centre for African Studies of the University of Basel and with mission 21 (formerly Basel Mission), organized a symposium on the theme “Popular Music from Ghana: Historical Records as a Contribution to the Study of African History and Culture.” The conference concluded a week of lectures, workshops, and concerts with Ghanaian “palmwine” and Highlife music, a program which was realized in cooperation with the Basel Academy of Music and the two associations, Ghana Popular Music 1931-1957 and Scientific African e.V. The papers read at the symposium are, in our opinion, of interest to the readers of History in Africa, as they discuss a specific kind of source and the methodological issues pertaining to it, as well as offer insights into possible themes of research, giving some idea of the potential of the recordings as a source. We present the contributions here in a slightly revised form, and, in order to round off the discussion, we have invited the curators of two further sound collections of interest to scholars working on African history, to describe their archives.
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Dissertations / Theses on the topic "Highlife (Music) Highlife (Music) Music Popular music Popular music Highlife Volkskultur Nigeria"

1

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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Books on the topic "Highlife (Music) Highlife (Music) Music Popular music Popular music Highlife Volkskultur Nigeria"

1

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

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2

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

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3

Highlife Saturday night: Popular music and social change in urban Ghana. Indiana University Press, 2013.

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Der nigerianische Highlife: Musik und Kunst in der populären Kultur der 50er und 60er Jahre. Hammer, 2007.

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