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Libri sul tema "Indigenous african music education"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 1 febbraio 2022

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1

East African Symposium on Music Education (1st 2005 Kenyatta University). Refocusing indigenous music in music education: Proceedings of the East African Symposium on Music Education : held at Kenyatta University, May 16th-18th 2005. Nairobi, Kenya: Dept. of Music and Dance, Kenyatta University and Emak Music Services, 2005.

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2

The role of indigeneous music in modern African education: A Uganda and East African setting. Kampala, Uganda: Pelican Publishers Ltd, 2011.

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3

Abidogun, Jamaine M., e Toyin Falola, a cura di. The Palgrave Handbook of African Education and Indigenous Knowledge. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38277-3.

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4

Hilliard, Asa G. African power: Affirming African indigenous socilization in the face of the culture wars. Gainesville, Fla: Makare Pub., 2002.

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5

Raum, Otto Friedrich. Chaga childhood: A description of indigenous education in an East African tribe. Hamburg: LIT, 1996.

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6

Odyke, Nzewi, a cura di. A contemporary study of musical arts: Informed by African indigenous knowledge systems. Pretoria: Centre for Indigenous Instrumental African Music and Dance (Ciimda), 2007.

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7

Daun, Holger. Childhood learning and adult life: The functions of indigenous, Islamic and western education in an African context. Stockholm: Institute of International Education, Stockholm University, 1992.

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8

Mosha, R. Sambuli. The heartbeat of indigenous Africa: A study of the Chagga educational system. New York: Falmer Press, 1999.

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9

Kruss, Glenda. Adult education and transformation: The case of African indigenous churches in South Africa. [S.l: The Author], 1992.

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10

An African music and dance curriculum model: Performing arts in education. Durham, NC: Carolina Academic Press, 2011.

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11

Oehrle, Elizabeth. A new direction for South African music education: A creative introduction to African, Indian, and Western musics. 2^a ed. Pietermaritzburg: Shuter & Shooter, 1988.

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12

Music education for the African church: A text book for seminaries, Bible colleges and churches. Kaduna, Kaduna State, Nigeria: Baraka Press, 1995.

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13

Indigenous music for entertainment-education: Lessons from AIDS Batan na e wu eza na in Bide Emirate, Nigeria. Ibadan, Nigeria: Stirling-Horden, 2000.

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14

Volbrecht, Terry. Songsources: Using popular music in the teaching of English. Cape Town: Buchu Books, 1991.

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15

Allen, Martha Mitten. The gracious gift: The Negro Fine Arts School, 1946-66 : easing the transition from segregation to integration. Georgetown, Tex: Georgetown Heritage Society, 1998.

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16

Trillin, Calvin. An education in Georgia: Charlayne Hunter, Hamilton Holmes, and the integration of the University of Georgia. Athens: Brown Thrasher Books, 1991.

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17

Thomas, Dale. A band in every school: Portraits of historically black school bands in Florida. Tallahassee, Fla: Harmonie Publishing, LLC (P. O. Box 5674, Tallahassee, FL 32314), 2008.

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18

Thomas, Dale. A band in every school: Portraits of historically black school bands in Florida. Tallahassee, Fla: Harmonie Publishing, LLC (P. O. Box 5674, Tallahassee, FL 32314), 2008.

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19

Performing identity/performing culture: Hip hop as text, pedagogy, and lived practice. New York: P. Lang, 2001.

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20

Performing identity/performing culture: Hip hop as text, pedagogy, and lived. New York: P. Lang, 2009.

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21

Black studies, rap, and the academy. Chicago: University of Chicago Press, 1993.

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22

Black studies, rap and the academy. Chicago: University of Chicago, 1995.

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23

Erbacher, John. Aborigines of the rainforest. Cambridge: Cambridge University Press, 1991.

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24

Gumbo, Mishack Thiza. Decolonization of Technology Education: African Indigenous Perspectives. Lang AG International Academic Publishers, Peter, 2020.

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25

Gumbo, Mishack T. Decolonization of Technology Education: African Indigenous Perspectives. Lang AG International Academic Publishers, Peter, 2020.

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26

African Science Education: Gendering Indigenous Knowledge in Nigeria. Taylor & Francis Group, 2018.

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27

Falola, Toyin. The Palgrave Handbook of African Education and Indigenous Knowledge. Palgrave Macmillan, 2020.

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28

Solomon-Henry, Gale. African indigenous knowledges and education: Implications for youth of African descent and Black focused schools in Toronto. 2006.

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29

Moore, Sally Falk, e O. F. Raum. Chaga Childhood: A Description of Indigenous Education in an East African Tribe. Boydell & Brewer, Limited, 1997.

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30

Taieb, S. Decolonizing Indigenous Education: An Amazigh/Berber Ethnographic Journey. Palgrave Macmillan, 2014.

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31

Taieb, S. Decolonizing Indigenous Education: An Amazigh/Berber Ethnographic Journey. Palgrave Macmillan, 2014.

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32

Serving The Common Good: A Postcolonial African Perspective On Higher Education (Society and Politics in Africa). Peter Lang Publishing, 2005.

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33

Minette, Mans, e Pan African Society for Musical Arts Education., a cura di. Centering on African practice in musical arts education. [South Africa]: African Minds for the Pan-African Society of Musical Arts Education, 2006.

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34

Gurgel, Ruth. Taught by the Students: Culturally Relevant Pedagogy and Deep Engagement in Music Education. Rowman & Littlefield Publishers, Incorporated, 2015.

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35

Gurgel, Ruth. Taught by the Students: Culturally Relevant Pedagogy and Deep Engagement in Music Education. Rowman & Littlefield Publishers, Incorporated, 2015.

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36

Educational Resources Information Center (U.S.), a cura di. "Black nativity", December 12-31, 1995: Cue sheet for students. [Washington, DC: Kennedy Center], 1995.

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37

What is this thing called soul: Conversations on Black culture and jazz education. 2017.

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38

Jorritsma, Marie. Hidden Histories of Religious Music in a South African Coloured Community. A cura di Jonathan Dueck e Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.13.

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Abstract (sommario):

This chapter explores persistent traces of both indigenous and Euro-colonial music traditions in the church music of South African coloured people (a group of mixed racial heritage that was marginalized and oppressed by the apartheid regime). The author characterizes these persistent historical traces in coloured people’s performance style as “hidden transcripts” (following James Scott). Through the powerful historiographic tool of ethnomusicological listening, this chapter points to colonial as well as “African” traces surviving in contemporary musics and locates both encounter and resistance in contemporary performance styles, even those most closely related to colonial repertoires.

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39

Sackeyfio, Christina N. T. Hip-Hop cultural identities: A review of the literature and its implications for the schooling of African-Canadian youth. 2006.

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40

Love, Bettina. Hip Hop's Li'l Sistas Speak: Negotiating Hip Hop Identities and Politics in the New South. Lang Publishing, Incorporated, Peter, 2012.

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41

Love, Bettina. Hip Hop's Li'l Sistas Speak: Negotiating Hip Hop Identities and Politics in the New South. Lang Publishing, Incorporated, Peter, 2012.

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42

Snyder, Jean E. Burleigh at the National Conservatory of Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0004.

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This chapter focuses on Harry T. Burleigh's study at the National Conservatory of Music in New York City. It begins with a background on the National Conservatory of Music, founded by music philanthropist Jeannette Thurber. Her school became a magnet for talented music students from across the nation. Its faculty included some of the most renowned musicians in the United States and Europe, and it modeled principles for postsecondary music education that attracted Harry, particularly the openness to African Americans as well as women and handicapped students. The chapter also discusses the difficulty experienced by Burleigh before he won a four-year tuition scholarship for the Artist's Course at the National Conservatory of Music. Finally, it considers the influence of African American soprano Sissieretta Jones on Burleigh's early recital career.

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43

Omaswa, Francis, e Nigel Crisp. Introduction to Part 4: Making the best use of all the talents. Oxford University Press, 2015. http://dx.doi.org/10.1093/med/9780198703327.003.0011.

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Chapter 11 discusses the greatest shortage in Africa—skilled health workers. It provides the background in terms of numbers, distribution, and migration of health workers, and goes on to describe some of the imaginative solutions that health leaders in Africa and elsewhere have developed to tackle these shortages. It sets the scene for the following chapters in which African health leaders describe how they have dealt with these issues, whilst developing services and professional education in tandem. It concludes with a short chapter on Indigenous Knowledge Systems.

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44

Zack, Naomi. Introduction. A cura di Naomi Zack. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190236953.013.61.

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Abstract (sommario):

The philosophy of race, progressively understood, is new to academic philosophy, although figures in the canon, including Hume, Kant, Nietzsche, and Hegel, expressed and influenced scientific ideas of human races in terms that would today be considered racist. Changes in the biological and social sciences and historical anti-oppression movements during the twentieth century led first to African American philosophy and today more broadly to the philosophy of race. This volume contains leading twenty-first-century thought in this new philosophical subfield, including the following: ideas of race in the history of philosophy; pluralistic historical ideas of race from Indigenous, Latin American, and Asian American traditions; philosophy of science and race; ideas of race in American philosophy and continental philosophy; racism and neo-racism; race as social construction; contemporary social issues in education, medicine, sports, IQ testing, and police profiling; public policy, law, and political philosophy; and race and gender.

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45

van Rooy, Bertus. English in South Africa. A cura di Markku Filppula, Juhani Klemola e Devyani Sharma. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199777716.013.017.

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South African English (SAfE) traces its roots to the 1820 British settlers. From here, it spread to the descendants of Indian indentured labourers, who later shifted to English as home language. English diffused as second language to the indigenous African population and speakers of Afrikaans, and today occupies an important position as language of government, education, business, and the media. SAfE has borrowed vocabulary from Afrikaans, ancestral Indian languages, and in recent years also from other South African languages. Phonetically, SAfE has raised front vowels, the short front /i/ has allophones that range from high front in KIN to centralized in PIN, and a back vowel realization of START. Non-native varieties display various degrees of vowel contrast reduction. The modal must is used more extensively than in other varieties of English, while Black SAfE also uses the progressive aspect for a wider timespan than just temporariness.

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46

Bâ, Amadou Hampâté. Amkoullel, the Fula Boy. Tradotto da Jeanne Garane. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021490.

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Born in 1900 in French West Africa, Malian writer Amadou Hampâté Bâ was one of the towering figures in the literature of twentieth-century Francophone Africa. In Amkoullel, the Fula Boy, Bâ tells in striking detail the story of his youth, which was set against the aftermath of war between the Fula and Toucouleur peoples and the installation of French colonialism. A master storyteller, Bâ recounts pivotal moments of his life, and the lives of his powerful and large family, from his first encounter with the white commandant through the torturous imprisonment of his stepfather and to his forced attendance at French school. He also charts a larger story of life prior to and at the height of French colonialism: interethnic conflicts, the clash between colonial schools and Islamic education, and the central role indigenous African intermediaries and interpreters played in the functioning of the colonial administration. Engrossing and novelistic, Amkoullel, the Fula Boy is an unparalleled rendering of an individual and society under transition as they face the upheavals of colonialism.

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47

Sykes, Jim. The Cartography of Culture Zones. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912024.003.0006.

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This chapter criticizes the “cartography of culture zones”—the standard way cultural history is described in Sri Lanka—which locates traditional cultures in ethnically defined, regionally based culture zones. First, the chapter expands on the book’s previous exploration of Sinhala and Tamil musics by introducing the musics of Sri Lankan Muslims (an ethnic and religious category), Christians (a heterogenous religious category), Burghers (Eurasians), Kaffirs (Sri Lankans of African descent), and Väddas (the indigenous population). The chapter argues that scholars tend to adopt the European-derived idea that music belongs distinctly to humans with cultural histories rigidly demarcated along ethnic, religious, and regional lines. The chapter then traces histories of musical connection between Sri Lankan communities and culture zones. All the same, the chapter avoids debunking Sinhala Buddhist music as “Hindu” in character (a mistake of colonial era scholarship). The chapter respects difference while arguing for the importance in the Sri Lankan public sphere of recognizing connections.

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48

Diouf, Sylviane A. The First Stirrings of Islam in America. A cura di Jane I. Smith e Yvonne Yazbeck Haddad. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199862634.013.009.

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Abstract (sommario):

This chapter discusses the first manifestations of Islam in America from the eighteenth century to 1975. The first US Muslims were West African Sunnis who had been deported through the transatlantic slave trade. Most came from Senegal, Gambia, and Guinea. Despite being enslaved in a Christian land, they maintained their faith, and evidence shows that some continued to pray, fast, give charity, and follow a particular diet and dress code. Their literacy was well known and manuscripts they wrote in Arabic have been preserved. Part of their legacy can still be heard in American music. After their disappearance and without any evidence of continuity, indigenous movements, such as the Moorish Science Temple of Islam and the Nation of Islam, emerged in the early 1900s. Within their communities, created by and built around charismatic men, they mixed black nationalism, new definitions of identity, and pseudo-Islamic tenets, often in contradiction to the most basic principles of Islam. All these were used to bolster mental emancipation, self-determination, economic improvement, and social justice.

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49

Sears, Ann. Political Currents and Black Culture in Scott Joplin’s Treemonisha. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0006.

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This chapter examines politics and black culture in Scott Joplin's Treemonisha, a love story that also lays emphasis on the main character's education and its benefits to her and the plantation folk, as well as the novel idea of a woman as a community leader. Much of Treemonisha's music parallels the Euro-American musical style employed by other American opera composers of the early twentieth century, but also incorporates nineteenth-century African American musical styles. This chapter first considers Treemonisha's African American musical elements before discussing some important musical signifiers of black identity in the opera, along with Joplin's use of language to impart cultural and political messages. It also explores Treemonisha's take on progress and education as well as its political content. It argues that through Treemonisha, Joplin was making a statement about the political, social, and economic status of African Americans in the early twentieth century.

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50

Hill, Kimberly D. A Higher Mission. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179810.001.0001.

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Throughout the first three decades of the twentieth century, alumni and students from historically black colleges and universities contributed to the American Protestant mission movement in West Africa. Those contributions extended beyond the manual labor endeavors promoted by Booker T. Washington and the Phelps Stokes Fund; African American missionaries also adapted classical studies and self-help ideology to a transnational context. This book analyzes the effects and significance of black education strategies through the ministries of Althea Brown and Alonzo Edmiston from 1902 to 1941. Brown specialized in language, music, and cultural analysis while her husband engaged in preaching, agricultural research, and mediation on behalf of the American Presbyterian Congo Mission in what became the Belgian Congo. Personal and professional partnership motivated the two missionaries to interpret their responsibilities as a combination of training from Fisk University, Tuskegee Institute, and Stillman Institute. Each of these institutions held a symbolic meaning in the contexts of the Southern Presbyterian Church and European colonialism in Africa. Denominational administrators and colonial officials understood African American missionaries as leaders with the potential to challenge racial hierarchies. This perception influenced the shifting relations between African Christians and black missionaries during the development of village churches. The Edmistons’ pedagogical interest in adapting to local conditions encouraged Presbyterian converts and students to promote their interests and their authority within the Congo Mission. At the same time, occasional segregation and expulsion of African American missionaries from overseas ministry enabled them to influence early civil rights activities in the American South.

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