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Relevant bibliographies by topics / Kenyan music

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Journal articles

Academic literature on the topic 'Kenyan music'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "Kenyan music"

1

Ekdale, Brian. "Reppin’ the nation, reppin’ themselves: Nation branding and personal branding in Kenya’s music video industry." Journal of African Media Studies 12, no. 1 (2020): 75–88. http://dx.doi.org/10.1386/jams_00012_1.

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This article explores the entanglement of nation branding and personal branding in the Kenyan music video industry. Although self-commodification and labouring on behalf of the nation are both indicative of neo-liberal governmentality, Kenyan music video directors build personal brands to wrestle creative control from their clients during the production process and they invoke their experiences representing Kenya abroad to elevate their professional status at home. Thus, branding in the Kenyan music video industry illustrates the complexities and contradictions of neo-liberal governmentality i

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2

Floyd, Malcolm. "Music Makers: cultural perspectives in textbook development in Kenya, 1985–1995." British Journal of Music Education 20, no. 3 (2003): 291–306. http://dx.doi.org/10.1017/s026505170300545x.

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This article draws on my other writings about developments in the teaching of music in Kenya, and on the decision to promote traditional musics and to make music one of the compulsory examinable subjects at the end of primary school. It considers two textbooks published by Oxford University Press in Nairobi: Music Makers for Standards 7 and 8, by Brian Hocking and me, was issued in 1985, and Music Makers for Standards 5 and 6, this time with George Mutura as co-author, was published in 1989. The music education syllabus was revised in 1993, and both books were adapted to adjust the placing and

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3

Eisenberg, Andrew J. "HIP-HOP AND CULTURAL CITIZENSHIP ON KENYA'S ‘SWAHILI COAST’." Africa 82, no. 4 (2012): 556–78. http://dx.doi.org/10.1017/s0001972012000502.

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ABSTRACTThe Muslim-dominated ‘Swahili coast’ has always served as a conceptual as well as physical periphery for post-colonial Kenya. This article takes Kenyan youth music under the influence of global hip-hop as an ethnographic entry into the dynamics of identity and citizenship in this region. Kenyan youth music borrows from global hip-hop culture the idea that an artist must ‘represent the real’. The ways in which these regional artists construct their public personae thus provide rich data on ‘cultural citizenship’, in Aihwa Ong's (1996) sense of citizenship as subjectification. I focus he

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4

Floyd, Malcolm. "Modeling Music Education: Britain and Kenya." International Journal of Music Education os-40, no. 1 (2003): 59–80. http://dx.doi.org/10.1177/025576140304000106.

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The problem with models is that they almost always break. At some point, new information or new theoretical perspectives arrive and the model is rejected, or at best put aside and referred to occasionally for its historical interest. This article looks at my perceptions of music education in Britain and Kenya over the past 30 years or so using a range of models, precisely because it is in their “breaking” that one learns what is most significant. I have taught in both countries, at all levels of education, and part of the reason for writing this is to unpick my own agendas. Models drawn from t

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5

Wanjala, Henry, and Charles Kebaya. "Popular music and identity formation among Kenyan youth." Muziki 13, no. 2 (2016): 20–35. http://dx.doi.org/10.1080/18125980.2016.1249159.

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6

Ekdale, Brian. "Global frictions and the production of locality in Kenya’s music video industry." Media, Culture & Society 40, no. 2 (2017): 211–27. http://dx.doi.org/10.1177/0163443717707340.

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This article explores the relationship between global imaginaries, frictions, and the production of locality through an examination of the Kenyan music video industry. Localities are constructed, in part, through the constitutive work of the imagination. Friction occurs when divergent constructions of the global imaginary become entangled with each other. Through an examination of the production, distribution, and reception of Kenyan music videos, this study identifies three types of friction that occur in cultural production: collaborative frictions, in which collectivities work across differ

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7

Nyairo, J. "Popular music, popular politics: Unbwogable and the idioms of freedom in Kenyan popular music." African Affairs 104, no. 415 (2005): 225–49. http://dx.doi.org/10.1093/afraf/adi012.

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8

Floyd, Malcolm. "Individual: Community: Nation a Case Study in Maasai Music and Kenyan Education." International Journal of Music Education os-38, no. 1 (2001): 13–28. http://dx.doi.org/10.1177/025576140103800103.

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9

Wa Mungai, Mbugua. "‘Made in Riverwood’: (dis)locating identities and power through Kenyan pop music." Journal of African Cultural Studies 20, no. 1 (2008): 57–70. http://dx.doi.org/10.1080/13696810802159263.

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10

Nyairo, Joyce. "‘Reading the referents’: the ghost of America in contemporary Kenyan popular music." Scrutiny2 9, no. 1 (2004): 39–55. http://dx.doi.org/10.1080/18125440408566016.

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