African Music : Journal of the International Library of African Music最新文献

LEO PALAYENG

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2459

R. Jadinon

{"title":"LEO PALAYENG","authors":"R. Jadinon","doi":"10.21504/amj.v11i4.2459","DOIUrl":"https://doi.org/10.21504/amj.v11i4.2459","url":null,"abstract":"This article examines the historical and sociological processes that led to the electronification of traditional Acholi musical repertoires in the northern region of Uganda. Akena P’Layeng Okella, also known as Leo Palayeng, is presented as a leading figure in this transformation of traditional music to electronic music, which has become known as Acholitronix. Palayeng is also my main interlocutor. Through Palayeng’s biography, the influence of digital technology in the production, distribution, and reception of musical traditions is discussed. The new, digitised repertoire was first integrated into wedding ceremonies, and then played in bars and clubs in the city. It finally reached the international, alternative electronic club scene. This process of transformation in the repertoire is part of a long history of local and international musical influences in Uganda. The extent to which information and communication technologies have played a decisive role in the dissemination of musical genres, the adoption or adaptation of musical instruments and techniques, and the creation of local, national, or even pan-African musical identities since the 1980s, is described in the article. The place that these forms of digital musical traditions have on online platforms is also discussed. Based on these observations, the contours of the transformation and switch from the acoustic to the electronic – while being considered by the actors as being the same music – are described.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131390801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

GENDERING MUSICAL DISCOURSE 性别化的音乐话语

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2454

Amos Darkwa Asare

{"title":"GENDERING MUSICAL DISCOURSE","authors":"Amos Darkwa Asare","doi":"10.21504/amj.v11i4.2454","DOIUrl":"https://doi.org/10.21504/amj.v11i4.2454","url":null,"abstract":"In this article, I apply a gendered analysis to a healing phenomenon understood through indigenous musical performances in a ritual context. Ghanaian indigenous music has been widely researched and documented, however, a contextual analysis of the gendered musical roles associated with the healing rituals of the Twelve Apostles Church (TAC) is scant. In this research, the data was obtained from six congregations of the TAC, between 2014 to 2019. Based on participation, observations and interviews, the analysis is a description of how music is gendered in the indigenous healing rituals of the TAC. The main question I seek to answer is: how is gender constructed and how are the gender roles ascribed to musical performances in the healing rituals of the TAC? In answering this question, I discuss the cultural interpretations ascribed to gender in a musically informed healing ritual. The findings revealed that in the TAC, singing is mostly initiated by females who sing about illnesses. Males, on the other hand, are mostly in charge of playing the dondo, an hourglass drum. However, the mfoba, an enmeshed rattle is played by both males and females and it is the mfoba that aids spirit possession. Spirit possession is an integral part of the healing rituals of the TAC and females are more susceptible to being possessed by spirits than males. Based on various rules I argue that the healing ritual of the TAC is based on complementary rather than opposing musical roles of males and females.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"20 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114050995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Sing and Sing On: Sentinel Musicians and the Making of the Ethiopian American Diaspora 歌唱和歌唱:哨兵音乐家和埃塞俄比亚裔美国侨民的制作

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2460

Rakesh Kumar

引用次数: 0

HYBRIDITY IN MODERN NIGERIAN MUSIC 现代尼日利亚音乐的混杂性

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2456

Chidi Obijiaku

{"title":"HYBRIDITY IN MODERN NIGERIAN MUSIC","authors":"Chidi Obijiaku","doi":"10.21504/amj.v11i4.2456","DOIUrl":"https://doi.org/10.21504/amj.v11i4.2456","url":null,"abstract":"Igbo choral art music is a Nigerian genre that exhibits interesting musical hybridity as it combines a notated choral part with an un-notated orchestral part into a final musical artwork. The notated choral part is produced by the composer through a synthesis of Igbo traditional music and European classical music, while the orchestral part, based on Igbo traditional music practices, is produced by the choral director. For over five decades scholarly discussions on Igbo choral art music have focused on the notated choral part and how composers blend European classical music and Igbo traditional music principles. Although the choral part is significant, my more than two decades of participation in the genre as well as interviews with leading practitioners reveal that without the orchestral part, a composition is considered incomplete by both the practitioners and the audience. Such a critical aspect of the genre has received little to no academic attention. This article is an autoethnographic report on the orchestration principles of Igbo choral art music, its relationship with Igbo traditional music, and how such orchestration contributes to hybridity as a fundamental resource in the genre’s development.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124487298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

CONTESTING NORMS 争夺规范

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2457

S. Ogundipe

{"title":"CONTESTING NORMS","authors":"S. Ogundipe","doi":"10.21504/amj.v11i4.2457","DOIUrl":"https://doi.org/10.21504/amj.v11i4.2457","url":null,"abstract":"Contemporary Islamic music in southwestern Nigeria has changed in the last decade and Yoruba Muslim listeners are experiencing music in new ways. This article explores various trends in contemporary Yoruba Islamic music in southwestern Nigeria. The Yoruba are predominantly in southwestern Nigeria and extend to parts of central Nigeria and the West African coast of the Republic of Benin. The article draws on purposefully selected, recorded compositions of Yoruba Islamic artists produced on compact discs between 1979 and 2020, YouTube Videos and in-depth interviews to yield a comprehensive view of the music. It employs Vejlgaard’s (2018) trendspotting theory as a theoretical framework to analyse the texts. It examines the tendencies that shape the re-articulation of religion through the “Muslim sound” and problematises an understanding of the direction of change in contemporary Islamic music. The article argues that contemporary Islamic music in southwestern Nigeria is a product of the quest for Islamic identity and the commodification of musical and social values. This argument puts in context the many dynamics behind the transformations in contemporary Islamic music in Nigeria. Muslim singers draw on the strength of Nigeria’s thriving urban culture industry by adopting production, circulation, and marketing strategies that sustain the commercially successful Nigerian entertainment industry. This development is part of a global reality of social change and modernity transforming Islamic consciousness.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124660635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

TRANSCENDING THE SONIC AND THE TEXTUAL 超越声音和文本

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2458

Obianuju Akunna Njoku

{"title":"TRANSCENDING THE SONIC AND THE TEXTUAL","authors":"Obianuju Akunna Njoku","doi":"10.21504/amj.v11i4.2458","DOIUrl":"https://doi.org/10.21504/amj.v11i4.2458","url":null,"abstract":"Among Muslim women in predominantly Islamic societies, music-making remains a contested subject. At the core of these contestations are questions of boundaries, agency, taboos, resistance, and generalisations of the socio-musical experiences of Muslim women. This article explores the development of senwele music, a socio-religious music form of the Ilorin in northern Nigeria, from its origin as orin-kengbe (calabash music) to its transition into a translocal music form. Given influences of the Yoruba, Hausa-Fulani, and Islam, senwele music is examined as a compendium of history; one that is not only reflective of the Ilorin traditional music scene, but also the north-south dualism in Ilorin, tensions in music-making and Islam, and regio-political remapping in Nigeria. Based on fieldwork with a major exponent of senwele, Alhaja Iya Aladuke, and her music group in Ilorin, the article explores the practice, ambivalences, convivialities and sustainability of senwele music performance within its predominantly Islamic context. I argue that while established societal conventions, such as those in Ilorin, function as a standard for the acceptance of music, a woman musician such as Alhaja Iya Aladuke continues to thrive through a musician-community exchange that takes into cognisance the sensibilities of the people while retaining their patronage and her artistic autonomy. Beyond its sonic, textual, and entertainment prerogatives, the sustained practice of senwele music in Ilorin presents a continuum for interrogating and negotiating cross-cultural encounters, socio-religious binaries, gender boundaries, and the multiplicity in the socio-musical experiences of Muslim women.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116668866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

APPROACHES AND METHODS EMPLOYED IN REVITALISING THE SEPEREWA MUSICAL TRADITION IN GHANA 在加纳复兴seperewa音乐传统的途径和方法

African Music : Journal of the International Library of African Music Pub Date : 2023-02-27 DOI: 10.21504/amj.v11i4.2455

Papa Kow Mensah Agyefi

{"title":"APPROACHES AND METHODS EMPLOYED IN REVITALISING THE SEPEREWA MUSICAL TRADITION IN GHANA","authors":"Papa Kow Mensah Agyefi","doi":"10.21504/amj.v11i4.2455","DOIUrl":"https://doi.org/10.21504/amj.v11i4.2455","url":null,"abstract":"This article examines how Osei Korankye, a seperewa (a west African harp) player in Ghana, managed to thrive in an often unfavourable environment for traditional musicians. The seperewa is a Ghanaian harp with a likeness to the kora. The article examines Korankye’s efforts to preserve and restore local interest in seperewa music. The conflict between traditional musical practices and the multiplicity of sounds and ideologies brought by globalisation and cultural imperialism after contact with Europe in the fifteenth century is critical to the discourse in this article. As a result of these encounters, Ghanaian communities have lost much of their musical traditions; those remaining are cherished by a small number of individuals. Many see such traditions as a building block to most of Ghana’s cultural heritage, hence the call for cultural revitalisation in many quarters. Drawing on the available literature and ethnographic interviews, I position Korankye, and his methods, as a powerful example of such a strategy for revitalisation while outlining many of the struggles he negotiated. This article corroborates existing arguments made by many that globalisation and cultural imperialism profoundly influenced African civilisations, threatening a loss of contact between communities and their customs.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"73 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131359357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Tuning the Kingdom: Kawuugulu Musical Performance, Politics, and Story Telling in Buganda. Damascus Kafumbe, 2018. Rochester: University of Rochester Press. 31 illustrations, 23 musical examples, bibliography, index. 151 pp. 调谐王国:布干达的卡乌古鲁音乐表演、政治和故事讲述。大马士革Kafumbe, 2018。罗彻斯特:罗彻斯特大学出版社。31个插图，23个音乐例子，参考书目，索引。151页。

African Music : Journal of the International Library of African Music Pub Date : 2022-02-28 DOI: 10.21504/amj.v12i1.2437

Obianuju Akunna Njoku

引用次数: 0

Hip Hop in Africa: Prophets of the City and Dustyfoot Philosophers. Msia Kibona Clark, 2018. Athens, Ohio: Ohio University Press. 25 illustrations b&w, bibliography, index, 266 pp. 嘻哈在非洲:城市的先知和尘脚哲学家。sia Kibona Clark女士，2018年。Athens, Ohio: Ohio University Press. 25插图b&w，参考书目，索引，266页。

African Music : Journal of the International Library of African Music Pub Date : 2022-02-28 DOI: 10.21504/amj.v12i1.2433

Amy E. Laboe

引用次数: 0

Examining the success of Malian music as world music 考察马里音乐作为世界音乐的成功

African Music : Journal of the International Library of African Music Pub Date : 2022-02-28 DOI: 10.21504/amj.v12i1.2430

J. Hickson

{"title":"Examining the success of Malian music as world music","authors":"J. Hickson","doi":"10.21504/amj.v12i1.2430","DOIUrl":"https://doi.org/10.21504/amj.v12i1.2430","url":null,"abstract":"Malian music is ubiquitous in world music. Indeed, Malian artists consistently appear more often and rank higher in world music record charts than artists of any other nationality. While the concept and industry of world music and the histories and workings of Malian music have been examined at length in the past, scholarship on the intersection of the two has been sparse. This article investigates how various marketing techniques and narrative tropes have been used to secure Mali’s on-going presence within world music. Tuareg essouf band Tinariwen is introduced as a specific case study to allow exploration into themes of audience familiarity and unfamiliarity; the use of wider narratives to promote music; and the role of cultural brokers in this process. Malian music can be considered ideal for the world music markets, with musical, narrative and political forces aligning in an optimal manner to facilitate the most effective strategies of marketing towards world music audiences. By studying the dominance of Malian music in world music, we can examine more clearly the mechanics of the industry, but also the attitudes and behaviours of the world music audience and the artistic, industrial and even institutional practices and processes that define world music as a whole.","PeriodicalId":378430,"journal":{"name":"African Music : Journal of the International Library of African Music","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122926971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0