Journal of the Musical Arts in Africa最新文献

{"title":"In memoriam: Joseph Hanson Kwabena Nketia (1921–2019)","authors":"Kwasi Ampene","doi":"10.2989/18121004.2021.2012993","DOIUrl":"https://doi.org/10.2989/18121004.2021.2012993","url":null,"abstract":"","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"35 1","pages":"131 - 141"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75860884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mauritian music therapy: conceptual framework of a promising movement","authors":"W. Mastnak, Jean-Clair Seevraz, Mégane Duvergé","doi":"10.2989/18121004.2021.2013021","DOIUrl":"https://doi.org/10.2989/18121004.2021.2013021","url":null,"abstract":"Stella clavisque Maris Indici (Star and key of the Indian Ocean)1 is the official motto of this young and flourishing republic,2 which has an eventful history, a colourful culture and striking ethnic hallmarks. Looking back over challenging times under Dutch, French and British colonial rule, the multicultural features of the Republic of Mauritius are also mirrored in a promising new movement: Mauritian music therapy (MMT). Although music therapy is not yet recognised as a clinical therapy or an autonomous discipline in Mauritian public health and educational systems, there is a growing awareness of the need for music therapy in psychiatric, paediatric and educational, geriatric, neurorehabilitative and other public health domains. Additionally, local issues such as the depression-related distress of adolescent Mauritian girls (Pillay, Bundhoo & Bhowon 2010) and self-harm and suicide among young Mauritians (Naga 2007; Mauritius Research Council 2015) remain challenging. To deal with pressing psychological, psychiatric and humanitarian issues, the Mauritius Mental Health Association was founded in 1959, when the island was still a British colony. Raising public awareness of mental illness and disability was the main aim at that time, and MMT addresses similar challenges today: to enhance public awareness and understanding of the health-promoting and curative potential of music. In 1974 the Mauritius Mental Health Association was recognised in legislation passed by Parliament. Core objectives of this governmental association are to promote satisfactory education for children with intellectual disabilities, to assess and develop their intellectual and functional capacities, to enhance their potential for inclusion in society, and to give support to their families.","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"25 1","pages":"165 - 175"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77662060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Disa (2020) for nyunga-nyunga and jazz guitar","authors":"Cara Stacey","doi":"10.2989/18121004.2021.2013023","DOIUrl":"https://doi.org/10.2989/18121004.2021.2013023","url":null,"abstract":"Abstract Disa is a composition for nyunga-nyunga lamellophone and jazz guitar by South African musicians Cara Stacey and Keenan Ahrends. It was composed for the experimental, interdisciplinary trio, The Texture of Silence, and recorded by Stacey and Ahrends in early 2021. After being performed in a series of virtual concerts during 2020, the work formed part of their debut album As in the Sun, so in the Rain (2021).1 This explication discusses some of the key compositional aspects of Disa and the way that the piece relates to the creative work of The Texture of Silence more broadly.","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"9 1","pages":"95 - 99"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88216741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Too Late for the Prayers","authors":"William Fourie","doi":"10.2989/18121004.2021.2013009","DOIUrl":"https://doi.org/10.2989/18121004.2021.2013009","url":null,"abstract":"In his contribution to The Cambridge History of Twentieth-Century Music, Martin Scherzinger (2004:611) writes that African art music of the 1980s and 1990s reclaimed a ‘stake in the making of the world’s musical history’ by recentring the ‘complex intercultural negotiations of sound and meaning’ eschewed in Westerncentred narratives of music. To a certain extent, this still holds true. Much of the scholarship on African music, and especially on the type of intercultural art music to which Scherzinger refers, has emphasised these negotiations in terms of the larger geopolitical and historical frameworks of colonialism (Agawu 2011) and apartheid (Fourie 2019). What gets lost in these larger framings, however, are the smaller, more mundane negotiations of which world histories are aggregates. The new album, Too Late for the Prayers, by the Ugandan composer Justinian Tamusuza and South African Michael Blake presents us with a powerful reason to look to these minor narratives. The composers offer, through this album, an alternative model for the complex intercultural negotiations of African art music which foregrounds not transnational and state apparatuses, but the moving interpersonal exchanges occasioned by friendship. Too Late for the Prayers comprises recordings of four works: ‘Okwanjula Kw’Endere’ (1995) for solo flute and ‘Naakutendanga Emirembe Gyonna’ (2015) for vibraphone and marimba by Tamusuza; and ‘Shoowa Panel’ (2007) for vibraphone and marimba, and ‘Umngqokolo’ (2018) for solo alto flute by Blake. The works for flute and alto flute are performed by Marietjie Pauw1 and the vibraphone and marimba works are played by Duo Infinite (Cherilee Adams and Dylan Tabisher). There is a strong sense that what we hear in this album is a glimpse into an ongoing conversation between ‘two old friends’, as Stephanus Muller puts it in the liner notes, who actively draw inspiration from one another. ‘Naakutendanga’, writes Tamusuza, was ‘inspired by Blake’, and Blake states that in writing ‘Umngqokolo’ he was inspired by Tamusuza’s ‘Okwanjula Kw’Endere’, which he calls ‘the most significant solo flute piece by an African composer’. This type of creative generosity is present throughout the album, evidenced by themes of celebration, a deep caring for indigenous cultural practices and a sense of mutual admiration. This sense of generosity extends to the performances too. Pauw’s rendition of ‘Okwanjula Kw’Endere’ is strikingly visceral and lucid. She draws on a sophisticated timbral palette to colour the","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"39 1","pages":"155 - 157"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90472337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Peer reviewers’ reasons for rejecting manuscripts submitted to the Journal of the Musical Arts in Africa","authors":"Wilhelm Delport","doi":"10.2989/18121004.2021.2022857","DOIUrl":"https://doi.org/10.2989/18121004.2021.2022857","url":null,"abstract":"Amid the juggling of teaching, administrative, research and, more recently, ‘Zoom’ responsibilities, the publication of peer-reviewed articles in accredited journals remains a cornerstone of academic life. The aphorism ‘publish or perish’, coined nearly a century ago,1 has become synonymous with the pressures put on scholars to publish manuscripts for the establishment, advancement or mere retainment of their academic careers. Imad Moosa, in his book on the publish-or-perish culture and its history, writes:","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"36 1","pages":"ix - xx"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85104260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘The echo chambers of cyberspace’: the meaning and consequences of reconsidering the digital Michael Mosoeu Moerane Critical Edition as an archive","authors":"M. Röntsch","doi":"10.2989/18121004.2021.2013022","DOIUrl":"https://doi.org/10.2989/18121004.2021.2013022","url":null,"abstract":"Abstract Michael Mosoeu Moerane (1904–1980) was a South African Western art music composer and in 1941 became the first black South African to receive a BMus degree. Spearheaded by Christine Lucia, the Michael Moerane Critical Edition (MMCE) project established the first digital scholarly edition of the surviving works by Moerane: 55–60 compositions that have been transcribed from tonic sol-fa into staff notation, edited from original scores, with a critical commentary, and historically contextualised. This article locates the MMCE within the discourse of digital scholarly editions and reconsiders them as archives, where considerations of power and politics are relevant and essential. This recontextualisation challenges the emerging field of digital humanities to interrogate questions of power, perceived objectivity, and the role of the physical within the praxis of creating and utilising digital scholarly editions. Questions of self-reflexivity, long embraced in archival discourse, could be utilised as necessary tools to consider humanities scholarship in digital spheres.","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"2008 24","pages":"1 - 15"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72538219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Mature Piano Music","authors":"Dominic Daula","doi":"10.2989/18121004.2021.2020969","DOIUrl":"https://doi.org/10.2989/18121004.2021.2020969","url":null,"abstract":"Journal of the Musical Arts in Africa is co-published by NISC (Pty) Ltd and Informa UK Limited (trading as Taylor & Francis Group) Van Wyk, Arnold (2020). The Mature Piano Music. Stellenbosch, South Africa. AOI Edition. AOI CD 04. Daniel-Ben Pienaar, piano. Philip Hobbs, sound engineer. Recorded 15–16 February 2018. Compact Disc ZAR150.00, available from Africa Open Institute <https://aoinstitute.ac.za/>.","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"104 1","pages":"151 - 154"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80449027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Teaching and learning strategies used by basic school band instructors in Accra, Ghana","authors":"J. Dordzro","doi":"10.2989/18121004.2021.2013005","DOIUrl":"https://doi.org/10.2989/18121004.2021.2013005","url":null,"abstract":"Abstract Ghanaian scholarship in the field of instrumental music pedagogy is minimal. This article aims to examine the teaching and learning strategies demonstrated by basic school band instructors in the Accra metropolis of Ghana. Ten basic school bands and five school band instructors were purposively selected and studied in 2015 and 2016. Analyses of video recordings from rehearsals, fieldnotes and interviews revealed that teacher-directed instruction was the most used approach. To meet their teaching goals and objectives, most school band instructors used the rote teaching system with only a few utilising staff notation. Because of the many challenges of playing in a band, as well as the potential limitations of certain teaching approaches, instructors may need to consider other strategies such as teaching beyond the full-band class, implementing materials specifically intended for school bands, and utilising aural and visual models.","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"4 1","pages":"77 - 94"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85030646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sounding the woods: the significance of gyil music in Dagara funeral ceremonies","authors":"John Wesley Dankwa","doi":"10.2989/18121004.2021.2013003","DOIUrl":"https://doi.org/10.2989/18121004.2021.2013003","url":null,"abstract":"Abstract This article examines the musical meaning and role that the gyil (a pentatonic xylophone) plays during Dagara funeral ceremonies in north-west Ghana. It is based on several months of ethnographic fieldwork in the Nandom traditional area in Ghana’s upper western region. Whereas Dagara funerary rituals have undergone transformation over time, gyil music remains a fundamental and essential aspect of them. What then makes gyil music so indispensable in Dagara funerals? This study establishes that gyil music is essential because of its affective nature: the music moves funeral attendants in certain powerful ways – an experience that the Dagara claim cannot be found with any other music. The music propels funeral attendants to express their emotions in culturally acceptable ways, and thus bestows both cultural identity and authenticity on the funeral as a true Dagara event. In this regard, the music is crucial for asserting ‘Dagaraness’ within the current milieu of cultural heterogeneity in contemporary Ghana.","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"50 1","pages":"59 - 76"},"PeriodicalIF":0.1,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87592630","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In memoriam: Dr Victor Abimbola Olaiya (1930–2020)","authors":"Niyi Akingbe","doi":"10.2989/18121004.2020.1864906","DOIUrl":"https://doi.org/10.2989/18121004.2020.1864906","url":null,"abstract":"","PeriodicalId":41064,"journal":{"name":"Journal of the Musical Arts in Africa","volume":"17 1","pages":"121 - 124"},"PeriodicalIF":0.1,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73893980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}