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Relevant bibliographies by topics / Music – Africa – Study and teaching

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Journal articles

Academic literature on the topic 'Music – Africa – Study and teaching'

Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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Journal articles on the topic "Music – Africa – Study and teaching"

1

Walling, Catherine Bennett. "Intercultural exchanges in South Africa: Exploring music teacher experiences, understandings, and practices." International Journal of Music Education 38, no. 2 (2019): 252–66. http://dx.doi.org/10.1177/0255761419877574.

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The purpose of this study was to examine the experiences of four US music educators during and after a 3-week adult choir camp in South Africa. Findings reveal that the camp positively influenced music teacher understandings and practices, both during and after the exchange. Throughout the camp, participants navigated race, privilege and prejudice and expressed value for a vast array of shared experiences with choir mates, teachers, and homestays. Participants reflected regularly on processes of learning new musics, describing growth through authentic and at times challenging activities. Furth

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2

Campbell, Patricia Shehan. "How Musical We Are: John Blacking on Music, Education, and Cultural Understanding." Journal of Research in Music Education 48, no. 4 (2000): 336–59. http://dx.doi.org/10.2307/3345368.

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The distinguished music scholar John Blacking (1928-1990) made the study of music in culture and the nature of musical thought and behavior his lifelong quest. Although an anthropologist by training and an ethnomusicologist in his academic output, he produced a vast quantity of publications on the nature of musicality and musical development in the Venda children of northern Transvaal, South Africa. There are multiple purposes of this research, starting with a profile of the professional career of John Blacking, from his musical beginnings in England to his South African Odyssey of fieldwork a

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3

Richardson, Carol P. "Negotiating borderlands: a study of music teaching and learning in Ghana, West Africa." Music Education Research 5, no. 3 (2003): 275–83. http://dx.doi.org/10.1080/1461380032000126364.

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4

Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in Amer

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5

Covalle, Whitney A. "Three Black Gospel Music Experts on Preparing, Teaching, and “Being” in the African American Aural-Oral Tradition." Bulletin of the Council for Research in Music Education, no. 233 (July 1, 2022): 48–68. http://dx.doi.org/10.5406/21627223.233.03.

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Abstract The purpose of this multiple case study was to gather musical and nonmusical perspectives from three experts on teaching Black gospel music in the African American aural-oral tradition. Research questions included: (a) What is the process Black gospel music experts engage in when preparing for and teaching gospel music in the aural-oral tradition? (b) In the view of Black gospel music experts, how does race intersect with the preparation, teaching, and performance of gospel music? (c) How do Black gospel music experts advocate for incorporating gospel music into public school vocal mu

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6

K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.

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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the t

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7

Bolaji, David. "African Pianism: An Educator View." East African Journal of Arts and Social Sciences 5, no. 1 (2022): 75–87. http://dx.doi.org/10.37284/eajass.5.1.602.

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The quest for solving the impending challenge that hampers the performance of music students in playing pieces composed by African scholar in the African pianism style is one of the major concerns of most piano instructors that embraced the concept of African pianism. The identified difficulty stands as contributing factor downplaying the promotion of African identity via the use of the piano. Generally, this has stimulated lots of debates at different levels, which calls for urgent attention to reposition and promote African pianism. The thrust of this paper is not to re-sound the identified

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8

Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger, and Meredith Letain. "Children’s clapping games on the virtual playground." International Journal of Music Education 36, no. 4 (2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.

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This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participan

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9

Stiga, Kalliopi, and Evangelia Kopsalidou. "Music and traditions of Thrace (Greece): a trans-cultural teaching tool." DEDiCA Revista de Educação e Humanidades (dreh), no. 3 (March 1, 2012): 145–64. http://dx.doi.org/10.30827/dreh.v0i3.7094.

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The geopolitical location as well as the historical itinerary of Greece into time turned the country into a meeting place of the European, the Northern African and the Middle-Eastern cultures. Fables, beliefs and religious ceremonies, linguistic elements, traditional dances and music of different regions of Hellenic space testify this cultural convergence. One of these regions is Thrace. The aim of this paper is firstly, to deal with the music and the dances of Thrace and to highlight through them both the Balkan and the middle-eastern influence. Secondly, through a listing of music lessons th

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10

EKPO, Omotolani Ebenezer. "The Eurhythmics of Swange Dance of the Tiv People of Central Nigeria." Journal of Advance Research in Social Science and Humanities (ISSN: 2208-2387) 7, no. 12 (2021): 01–09. http://dx.doi.org/10.53555/nnssh.v7i12.1127.

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Eurhythmics in Dalcroze study is defined as the engagement of human body in rhythmic movement and active listening. Jaques-Dalcroze’s involvement of Eurhythmics in music pedagogy is aimed at securing steady position for the body and mind as well as a calculated and unconstrained expression of rhythm. African indigenous music and dance is predominantly functional with intensive assignation of the body and soul of the participants to satisfy the rhythmic drum patterns provided by the musicians. The teaching of music in traditional African settings may be generally informal, yet deliberate. The t

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