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Journal articles on the topic 'Xhosa (African people) – Music'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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1

Knight, Jonathan. "Sing on, Ntsikana: The Story of Christian Music Among the Xhosa people of South Africa." Musical Offerings 1, no. 1 (2010): 21–31. http://dx.doi.org/10.15385/jmo.2010.1.1.3.

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Niehaus, Dana, Esme Jordaan, Riana Laubscher, Taryn Sutherland, Liezl Koen, and Felix Potocnik. "Do South African Xhosa-Speaking People with Schizophrenia Really Fare Better?" GeroPsych 33, no. 1 (2020): 31–41. http://dx.doi.org/10.1024/1662-9647/a000217.

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Abstract. Objectives: Results from multinational WHO studies suggest that schizophrenia patients in developing countries may have more favorable prognoses and morbidity outcomes than those in developed settings. This study serves to establish whether mortality outcomes in South African Xhosa-speaking schizophrenia patients are more favorable than in the general South African population. Methods: We recruited a group of 981 patients from September 1997 to March 2005 as part of a genetic study in the Western, Southern, and Eastern Cape provinces of South Africa. For this substudy, participants w

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Matshabane, Olivia P., Megan M. Campbell, Marlyn C. Faure, et al. "The role of causal knowledge in stigma considerations in African genomics research: Views of South African Xhosa people." Social Science & Medicine 277 (May 2021): 113902. http://dx.doi.org/10.1016/j.socscimed.2021.113902.

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Klemz, Bruce R., Christo Boshoff, and Noxolo‐Eileen Mazibuko. "Emerging markets in black South African townships." European Journal of Marketing 40, no. 5/6 (2006): 590–610. http://dx.doi.org/10.1108/03090560610657859.

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PurposeThe purpose of this study is to assess differences between the guidance offered by cultural studies in the services literature and the retailing literature for emerging markets. To research these differences, the role that the contact person has towards South African township residents' willingness to buy is to be assessed.Design/methodology/approachA services quality survey of black (ethnic Xhosa) township residents was performed for two different retail types: new, small, independently owned grocery retailers located within the townships, and established, large, national chains locate

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Marjoribanks, Kevin, and Mzobanzi Mboya. "Learning Environments, Goal Orientations, and Interest in Music." Journal of Research in Music Education 52, no. 2 (2004): 155–66. http://dx.doi.org/10.2307/3345437.

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This study is an examination of relationships among family background, family and school learning environments, goal orientations, and students' interest in music. Data were collected from 18-year-old black South African students, 340 women and 285 men, whose main language was Isi Xhosa. Findings indicated that when family background was defined conjointly by family social status and parents' aspirations, (a) family background, gender, family and school learning environments, and goal orientations combined to have medium associations with students' interest in music, (b) relationships among le

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Chapman, Michael. "Red People and School People from Ntsikana to Mandela: The Significance of ‘Xhosa Literature’ in a General History of South African Literature." English Academy Review 10, no. 1 (1993): 36–44. http://dx.doi.org/10.1080/10131759385310061.

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Jordaan, Esmè R., Dana J. H. Niehaus, Liezl Koen, Cathlene Seller, Irene Mbanga, and Robin A. Emsley. "Season of Birth, Age and Negative Symptoms in a Xhosa Schizophrenia Sample from the Southern Hemisphere." Australian & New Zealand Journal of Psychiatry 40, no. 8 (2006): 698–703. http://dx.doi.org/10.1080/j.1440-1614.2006.01870.x.

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Objectives: Seasonality of birth, more specifically winter/spring births, has been implicated as a risk factor for the development of schizophrenia. The primary aim of this study was to determine whether schizophrenia patients of Xhosa ethnicity born in autumn/ winter have different symptom profiles to those born in spring/summer. The secondary aim was to determine whether the autumn/winter and spring/summer birth rates for schizophrenia patients of Xhosa ethnicity were similar to that of the general Xhosa population. Method: Individuals with a diagnosis of schizophrenia, born in the Western a

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Zungu, Evangeline Bonisiwe, and Nomvula Maphini. "Out with old, in with the new: Negotiating identity in re-naming a Xhosa umtshakazi." AFRREV LALIGENS: An International Journal of Language, Literature and Gender Studies 9, no. 1 (2020): 66–76. http://dx.doi.org/10.4314/laligens.v9i1.6.

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Umtshakazi (singular) is a bride and abatshakazi (plural) are brides in isiXhosa language. The word is derived from the word ‘tsha’ which means new in isiXhosa. The word is popularly known as Makoti in other African languages, such as isiZulu. In short, a bride is a woman about to be married or newly married and thus a “new member” of the husband’s family. In a South African context, naming is not reserved for new-born children as there are circumstances whereby older people get new names. In Xhosa re-naming of abatshakazi, is a religious practice where name-givers bestow a name on a newlywed

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de Lerma, Dominique-Rene, and Rainer E. Lotz. "Black People: Entertainers of African Descent in Europe and Germany." Notes 55, no. 1 (1998): 120. http://dx.doi.org/10.2307/900373.

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Marx, Shirley. "A Zimbabwean mbira: a Tradition in African Music and its Potential for Music Education." British Journal of Music Education 7, no. 1 (1990): 25–42. http://dx.doi.org/10.1017/s026505170000749x.

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This article aims to encourage the provision of the Zimbabwean mbira dzavadzimu in schools as a means of experiencing a novel musical system. It provides an outline of the mbira's cultural context within an oral tradition. The basic structure of the mbira pattern is abstracted and represented by four types of notation which makes the music accessible to a range of people. However, the characteristic ‘inherent rhythms’ that emerge kaleidoscopically from patterns and variations throughout performance give the music an elusive quality, the dimensions of which cannot be captured in staff notation.

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Campbell, Megan M., Olivia P. Matshabane, Sibonile Mqulwana, et al. "Evaluating Community Engagement Strategies to Manage Stigma in Two African Genomics Studies Involving People Living with Schizophrenia or Rheumatic Heart Disease." Global Health 2021 (June 26, 2021): 1–9. http://dx.doi.org/10.1155/2021/9926495.

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In global health research and genomics research specifically, community engagement has gained prominence in enhancing ethical conduct, particularly in managing the risk of stigmatization, but there is minimal scientific evidence on how to do this effectively. This article reports on community engagement evaluation strategies in two African genomics studies: the Stigma in African Genomics Research study and the Genomics of Schizophrenia in South African Xhosa People (SAX) study. Within the Stigma in African Genomics Research study, a self-report rating scale and open-ended questions were used t

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Lebaka, Morakeng E. K. "Misconceptions About Indigenous African Music and Culture: the Case of Indigenous Bapedi Music, Oral Tradition and Culture." European Journal of Social Sciences 2, no. 2 (2019): 18. http://dx.doi.org/10.26417/ejss-2019.v2i2-61.

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Indigenous Bapedi music and oral tradition have been dismissed as myth, superstition and primitive stories. Such dismissal has been based on the misconception and assumption that indigenous Bapedi music and oral tradition are proletarian, steeped in evil religious experiences and unacceptable for worship. In Bapedi society, indigenous music and traditional oral stories are utilized to buttress and demonstrate the collective wisdom of Bapedi people, as well as to transmit Bapedi culture, values, beliefs and history from generation to generation. This article examines misconceptions about indige

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Ryan, Maria. "“The influence of Melody upon man in the wild state of nature”: Enslaved Parishioners, Anglican Violence, and Racialized Listening in a Jamaica Parish." Journal of the Society for American Music 15, no. 3 (2021): 268–86. http://dx.doi.org/10.1017/s1752196321000171.

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AbstractIn 1827, George Wilson Bridges, the outspoken proslavery rector of the parish of St. Ann, Jamaica, published a pamphlet of music that he had written to be used as the choral service at his church. The Bishop of Jamaica condemned Bridges's musical innovations on the grounds that they were not suitable to be heard by “a congregation chiefly composed by people of colour & negroes.” On the Bishop's orders, Bridges's music stopped, and by 1828 he reported that his pews were once more empty. The congregation of St. Ann parish church was almost entirely enslaved Africans and Afro-descenda

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Joseph, Dawn, and Kay Hartwig. "Promoting African Music and enhancing intercultural understanding in Teacher Education." Journal of University Teaching and Learning Practice 12, no. 2 (2015): 108–21. http://dx.doi.org/10.53761/1.12.2.8.

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Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and

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Vuoskoski, Jonna K., Eric F. Clarke, and Tia DeNora. "Music listening evokes implicit affiliation." Psychology of Music 45, no. 4 (2016): 584–99. http://dx.doi.org/10.1177/0305735616680289.

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Recent empirical evidence suggests that – like other synchronized, collective actions – making music together with others fosters affiliation and pro-social behaviour. However, it is not yet known whether these effects are limited to active, interpersonal musical participation, or whether solitary music listening can also produce similar effects. This study examines the hypothesis that listening to music from a specific culture can evoke implicit affiliation towards members of that culture more generally. Furthermore, we hypothesized that listeners with high trait empathy would be more suscept

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Suzman, Susan M. "Names as pointers: Zulu personal naming practices." Language in Society 23, no. 2 (1994): 253–72. http://dx.doi.org/10.1017/s0047404500017851.

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ABSTRACTChildren in many African societies have meaningful names – unlike their Western counterparts, whose names are primarily labels. In Zulu, Xhosa, Sotho, Tswana, and many other cultures, namegivers traditionally chose personal names that pointed to a range of people and circumstances that were relevant at the time of the child's birth. These highly individual or unique names were part of particular social frameworks that have long been evolving with Western acculturation. Like the social frameworks within which they are embedded, naming practices are in the process of change.This article

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Turner, Diane. "Black Music Traditions of Central Avenue." Practicing Anthropology 20, no. 1 (1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.

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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.

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Langlois, Tony. "The local and global in North African popular music." Popular Music 15, no. 3 (1996): 259–73. http://dx.doi.org/10.1017/s0261143000008266.

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On 29 September 1994, Cheb Hasni, the most renowned Rai singer living in Algeria, was gunned down outside his family's house in Gambetta, a quarter of the city of Waharan (Oran). He was one of many public figures (and some 50,000 others) who have been killed since the main opposition political party, the FIS (Islamic Salvation Front) was prevented from assuming power by the annulment of elections that they would have won in 1991. Like the most notable of Algeria's victims of violence, which include journalists, lawyers, doctors, television presenters and top policemen, Hasni represented a vers

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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.

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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbe

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Ntozini, Anathi Nomanzana, and Ali Arazeem Abdullahi. "Perceptions of Traditional Male Circumcision among University Male Students at a South African University." Men and Masculinities 21, no. 2 (2016): 189–209. http://dx.doi.org/10.1177/1097184x16652657.

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In the past decade, traditional male circumcision, known as ulwaluko among the Xhosa-speaking people in the Eastern Cape Province, has become a burning issue in South Africa. The discourse has led to the emergence of two opposing camps: the supporters of ulwaluko who rely on “traditional ideology” to justify the cultural relevance of the practice, and the opposing camp who believe that ulwaluko is no longer in tandem with the reality of the twenty-first century. Amid the ongoing debate, this study investigated the perceptions of ulwaluko among South African university students at the Universit

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Mall, Sumaya, Jonathan M. Platt, Henk Temmingh, et al. "The relationship between childhood trauma and schizophrenia in the Genomics of Schizophrenia in the Xhosa people (SAX) study in South Africa." Psychological Medicine 50, no. 9 (2019): 1570–77. http://dx.doi.org/10.1017/s0033291719001703.

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AbstractBackgroundEvidence from high-income countries suggests that childhood trauma is associated with schizophrenia. Studies of childhood trauma and schizophrenia in low and middle income (LMIC) countries are limited. This study examined the prevalence of childhood traumatic experiences among cases and controls and the relationship between specific and cumulative childhood traumatic experiences and schizophrenia in a sample in South Africa.MethodsData were from the Genomics of Schizophrenia in the South African Xhosa people study. Cases with schizophrenia and matched controls were recruited

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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for

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Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.

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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than

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Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.

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AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adv

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DJEDJE, JACQUELINE COGDELL. "The (Mis)Representation of African American Music: The Role of the Fiddle." Journal of the Society for American Music 10, no. 1 (2016): 1–32. http://dx.doi.org/10.1017/s1752196315000528.

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AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on

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Miller, Doug. "The moan within the tone: African retentions in rhythm and blues saxophone style in Afro-American popular music." Popular Music 14, no. 2 (1995): 155–74. http://dx.doi.org/10.1017/s0261143000007418.

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The tenor is a rhythm instrument and the best statements negroes have made of what their soul is have been on tenor saxophone. Now you think about it and you'll see I'm right. The tenor's got that thing, that honk, you can get to people with it. Sometimes you can be playing that tenor and I'm telling you the people want to jump across the rail. (Ornette Coleman)

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Tommi, Himberg, and Thompson Marc R. "Learning and Synchronising Dance Movements in South African Songs – Cross-cultural Motion-capture Study." Dance Research 29, supplement (2011): 305–28. http://dx.doi.org/10.3366/drs.2011.0022.

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Music and dance are human universals. Understanding the communicative nature and the interpersonal dynamics of making music and dancing has a wide area of applications from academic to artistic, educational and therapeutic uses. Cross-cultural and embodied cognitive approaches are important, as they ensure a view across a spectrum of cultural practices and allow us to explore which aspects of cognitive performance are learned and how. In this study, our aims were to use a case study to investigate possible cross-cultural differences in movement, especially corporeal representation of beat and

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Rodríguez-Bailón, Rosa, Josefa Ruiz, and Miguel Moya. "The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People." Group Processes & Intergroup Relations 12, no. 3 (2009): 381–96. http://dx.doi.org/10.1177/1368430209102849.

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The two studies reported in this article agree in demonstrating that activating a positive side of the stereotype of a traditionally prejudiced group could be a useful strategy to improve the implicit attitude toward that group. The goal of the current research was to explore whether activating the present association between Flamenco music and Gypsy people would decrease the negative view of this group in Spain, using the IAT measure. In the first study, when a stereotype-consistent but positive feature of Gypsies (i.e. Flamenco music) was used as a positively valued attribute in the IAT meas

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Hiller, Rachel M., Sarah L. Halligan, Mark Tomlinson, Jackie Stewart, Sarah Skeen, and Hope Christie. "Post-trauma coping in the context of significant adversity: a qualitative study of young people living in an urban township in South Africa." BMJ Open 7, no. 10 (2017): e016560. http://dx.doi.org/10.1136/bmjopen-2017-016560.

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ObjectiveCompared with knowledge of the post-trauma needs of young people living in developed countries, little is known about the needs of those in low-middle-income countries. Such information is crucial, particularly as young people in these environments can be at increased risk of experiencing trauma, coupled with less available resources for formal support. The aim of this study was to explore post-trauma coping and support-seeking of young people living in a high-adversity settlement in South Africa.DesignSemistructured qualitative interviews analysed using thematic analysis.SettingAn ur

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Weisenfeld, Judith. "“The Secret at the Root”: Performing African American Religious Modernity in Hall Johnson's Run, Little Chillun." Religion and American Culture: A Journal of Interpretation 21, no. 1 (2011): 39–79. http://dx.doi.org/10.1525/rac.2011.21.1.39.

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AbstractFrancis Hall Johnson's (1888–1970) work to preserve and promote Negro spirituals places him among the twentieth century's most influential interpreters of African American religious music. Johnson was most closely associated with Marc Connelly's 1930 Pulitzer Prize-winning play, The Green Pastures, for which he served as musical arranger and choral conductor. His participation in this production, which became a lightning rod for discussions about the nature of black religious thought, made him sharply aware of the complex terrain of popular culture representations of African American r

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Cashner, Andrew A. "Imitating Africans, Listening for Angels." Journal of Musicology 38, no. 2 (2021): 141–82. http://dx.doi.org/10.1525/jm.2021.38.2.141.

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Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas

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Jafri, Shadan. "Music of Survival: A Search for Identity in the Works of Richard Wright." SMART MOVES JOURNAL IJELLH 9, no. 8 (2021): 1–8. http://dx.doi.org/10.24113/ijellh.v9i8.11147.

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The complexly changing nature of American life and the vigorous versatility and all-encompassing spread of the written record are the marks of American literature. Social forces always make their imprint on literature. Especially in America where the democratic processes bring the people into immediate familiarity with and sensitive response to cultural forces, the literature has responded quickly to such pressures. African American literature consists of the literary work by the writers of Afro-origin settled in USA. The category“ slave narratives” were writings by people who had experienced

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Swart, Inette. "Benefits of music education to previously disadvantaged South African learners: Perspectives of music teachers in the greater Tshwane Metropolis." International Journal of Music Education 38, no. 1 (2019): 52–65. http://dx.doi.org/10.1177/0255761419868151.

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This article focuses on the role of access to music education as an agent of social change and as an important way of empowering previously disadvantaged learners, putting this forward as an argument against the proposed downscaling of music in schools as advocated by the government. This narrative inquiry shed light on the perceptions of participating teachers associated with various music programs in the same larger geographical area on the benefits of music education to learners, including instilling discipline and a sense of purpose, general academic improvement, opportunities for social c

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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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Davila, Carl. "Music and Social Institutions: al-Maʾlūf and al-Āla". International Journal of Middle East Studies 44, № 4 (2012): 785–86. http://dx.doi.org/10.1017/s002074381200089x.

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Music is not only an art form defined by certain formal elements, such as rhythmic and melodic modes. It is also a cultural form that implies significant social interaction. Music naturally evokes deeply felt emotions and can touch upon important social identities, because it helps people to experience feelings and express insights into their own lives. Moreover, the fact that it is performed situates any given musical genre within a specific set of sociocultural frames. Unpacking the social, economic, and political contexts surrounding musical genres can deepen our understanding of larger pro

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Shepler, Susan. "Youth music and politics in post-war Sierra Leone." Journal of Modern African Studies 48, no. 4 (2010): 627–42. http://dx.doi.org/10.1017/s0022278x10000509.

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ABSTRACTThe brutal, eleven-year long civil war in Sierra Leone has been understood by many scholarly observers as ‘a crisis of youth’. The national elections of 2007 were notable for an explosion of popular music by young people directly addressing some of the central issues of the election: corruption of the ruling party and lack of opportunities for youth advancement. Though produced by youth and understood locally as youth music, the sounds were inescapable in public transport, markets, and parties. The musical style is a combination of local idioms and West African hip-hop. The lyrics pres

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Adedeji, Femi. "Singing and Suffering in Africa A Study of Selected Relevant Texts of Nigerian Gospel Music." Matatu 40, no. 1 (2012): 411–25. http://dx.doi.org/10.1163/18757421-040001027.

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A major aspect of African music which has often been underscored in Musicological studies and which undoubtedly is the most important to Africans, is the textual content. Its significance in African musicology is based on the fact that African music itself; whether traditional ethnic, folk, art or contemporary, is text-bound and besides, the issue of meaning 'what is a song saying?' is paramount to Africans, whereas to Westerners the musical elements are more important. This is why the textual content should be given more priority. In terms of the textual content, Nigerian gospel music, an Afr

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music

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Taranger, Angela. "Multiple Meanings: The Role of Black Gospel in an Interracial and Multi-Ethnic Edmonton Church." Canadian University Music Review 19, no. 2 (2013): 61–69. http://dx.doi.org/10.7202/1014447ar.

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This paper examines the process by which Black gospel music (performed according to aesthetic standards determined by African Americans) has become a site of meaning for both Black and White congregants at Edmonton Community Worship Hour, a church with an interracial and multi-ethnic ministry. Certain "transformations" (or "inversions") are at play in the conceptual systems of the people who attend; each individual has disparate, though intersecting, webs of meaning which become operational in a cross-cultural setting, relating to: the music itself, the method of worship, and the interpersonal

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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South Africa

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Amoros, Luis Gimenez. "BEYOND NATIONHOOD: HAUL MUSIC FROM A POSTCOLONIAL PERSPECTIVE IN WESTERN SAHARA AND MAURITANIA." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 41–59. http://dx.doi.org/10.21504/amj.v11i2.2313.

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This article examines the mobility of a precolonial musical style known as Haul music in two African countries, Western Sahara and Mauritania. Haul music is based on a modal system in which music and poetry are intrinsically related. This article traces the historical and musicological aspects of the Haul modal system in Western Sahara and Mauritania by offering an insight into how the postcolonial period has determined two narratives of Haul: a historical nationalism by way of revitalising the precolonial past in Mauritania; and political nationalism when reconsidering the ongoing process of

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Rasolofondraosolo, Zafimahaleo, and Ulrike H. Meinhof. "Popular Malagasy music and the construction of cultural identities." AILA Review 16 (July 8, 2003): 127–48. http://dx.doi.org/10.1075/aila.16.12ras.

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This paper explores the construction of cultural identities through contemporary music from Madagascar, in particular the songs by Dama — singer-song-writer of the eponymous group of musicians- the Mahaleo. Specific focus is on the role that the discourses of and about popular Malagasy music play for the identity constructions of Malagasy people in Madagascar and abroad. Discussions about contemporary African music on the media and in the cultural studies literature, and the record industry’s own appropriation and commercialization of such music as generic ‘world music — tend to neglect the ly

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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.

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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a

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James, Deborah. "‘Music of origin’: class, social category and the performers and audience of kiba, a South African migrant genre." Africa 67, no. 3 (1997): 454–75. http://dx.doi.org/10.2307/1161184.

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AbstractThis article uses a case study of the kiba migrant performance genre from the Northern Province of South Africa to illuminate recent theoretical ideas on the role of performers and audiences, and in so doing to offer a critical perspective on the way in which the concept of class has been conceptualised in some southern African studies. While the homogenising and Western-derived concept of class may well be unsuitable in some African and other southern contexts, as certain writers have claimed, migrant northern Sotho communities have developed indigenous notions of social category whic

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Charles, Monique. "Grime and Spirit: On a Hype!" Open Cultural Studies 3, no. 1 (2019): 107–25. http://dx.doi.org/10.1515/culture-2019-0010.

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Abstract Grime is a genre of Black British music originating from London at the turn of the twenty-first century. In this article, I explore responses to moments of Grime music making and engagement in live performance settings. I make connections between Grime, Black music streams (Lena), Black Atlantic (Gilroy) practices, the Black Public Sphere (Baker) AND how engagements at these intersections are connected to spiritual practice in the context of live performance. The power in Grime live performance settings; where the spiritual is found, connects to the sonic characteristics deployed, emb

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WASHINGTON, SALIM. "The Avenging Angel of Creation/Destruction: Black Music and the Afro-technological in the Science Fiction of Henry Dumas and Samuel R. Delany." Journal of the Society for American Music 2, no. 2 (2008): 235–53. http://dx.doi.org/10.1017/s1752196308080085.

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AbstractThis essay explores the thematic use of music in the science-fiction writings of two African American authors, Henry Dumas and Samuel R. Delany. Each author visited this theme in more than one work, and in at least one work centered the Afro-technological focus upon a special musical instrument: the “afro horn” in Dumas's story “Will the Circle Be Unbroken?” and a machete/flute in Samuel R. Delany's novel The Einstein Intersection. Both writers treat music itself, without regard to a material instrument, as a technology. Dumas depicted black music as a tool that enabled black people to

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Sarr, Ibrahima. "Language and Art in Senegal: The Crossbreeding of Identities in Music." Advances in Social Sciences Research Journal 8, no. 1 (2021): 61–69. http://dx.doi.org/10.14738/assrj.81.9530.

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Senegal is a melting pot of several civilizations mainly originated from the West (Europe) and the East (the Arab world). Assuming that language and culture are intrinsically related, the settlement of those people and their status as dominant minority sparked and strengthened the use of their languages in formal domains. In the long ran, as they became domesticated, thus now considered African languages because they have contributed to mold the cultural identity of younger generation, they involve in all linguistic interaction. Arab, in its classical form, remains a symbol of Islam which earn

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Da Silva, Pamela Lacorte. "Diáspora africana no Brasil – A música negra como fruto de identidade." ÎANDÉ : Ciências e Humanidades 2, no. 1 (2018): 136–47. http://dx.doi.org/10.36942/iande.v2i1.48.

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A presente pesquisa visa discutir e identificar, sob o contexto da diáspora africana, os elementos que se fortalecem por meio da música negra produzida no Brasil, focando nos blocos afro-baianos - no período do século XX adiante. Lida com a busca por um símbolo de resistência e autoestima para a história do povo negro, na medida em que a música negra dialoga com aspectos da negritude, da memória e da identidade de um povo e de sua ancestralidade.  The current research aims to discuss and investigate, in the context of the African diaspora, the elements that are fortified through th

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Thurman, Kira. "Performing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Identity in Interwar Central Europe." Journal of the American Musicological Society 72, no. 3 (2019): 825–65. http://dx.doi.org/10.1525/jams.2019.72.3.825.

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When African American concert singers began to perform German lieder in central Europe in the 1920s, white German and Austrian listeners were astounded by the veracity and conviction of their performances. How had they managed to sing like Germans? This article argues that black performances of German music challenged audiences' definitions of blackness, whiteness, and German music during the transatlantic Jazz Age in interwar central Europe. Upon hearing black performers masterfully sing lieder by Schubert, Schumann, Brahms, and others, audiences were compelled to consider whether German nati

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Perrot, Claude-Hélène. "Conrad, David C. – Somono Bala of the Upper Niger. River People, Charismatic Bards and Mischievious Music in a West African Culture." Cahiers d'études africaines 43, no. 171 (2003): 672–73. http://dx.doi.org/10.4000/etudesafricaines.1532.

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