Muziki-Journal of Music Research in Africa最新文献_第3页

Contesting Cultural Imperialism: Hybridisation and Re-enactment of Indigenous Cultural Values in Nigerian Hip-Hop Music 对抗文化帝国主义：尼日利亚嘻哈音乐中本土文化价值观的融合与再现

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Muziki-Journal of Music Research in Africa Pub Date : 2021-01-02 DOI: 10.1080/18125980.2021.1945946

Babatunde Raphael Ojebuyi, Bimbo Lolade Fafowora

{"title":"Contesting Cultural Imperialism: Hybridisation and Re-enactment of Indigenous Cultural Values in Nigerian Hip-Hop Music","authors":"Babatunde Raphael Ojebuyi, Bimbo Lolade Fafowora","doi":"10.1080/18125980.2021.1945946","DOIUrl":"https://doi.org/10.1080/18125980.2021.1945946","url":null,"abstract":"Abstract Hybridisation, that is, the blending of different cultural elements to create a new cultural form and identity, has become a significant linguistic feature of hip-hop music in Nigeria. Existing studies have focused largely on the negative roles of hip-hop music describing it as a tool for cultural imperialism and fostering deviant behaviour among youths. However, sparse scholarly attention has been paid to the cultural significance of hybridisation in Nigerian hip-hop music for promoting indigenous cultural values, especially among the youths in such a culturally complex country. This article reports on a study that was designed to examine hybridisation in Nigerian hip-hop music with a specific focus on the Yoruba language which is prominently used in the genre. This was done to establish how the linguistic process has challenged the notion of cultural hegemony in a way capable of changing youths’ perception of their indigenous cultural values. Using a mixed-methods approach, the researchers administered 255 copies of a 17-item questionnaire to students at the University of Ibadan, Nigeria. They also conducted five in-depth interviews with purposively selected hip-hop artistes and music producers in Ibadan, while they analysed the contents of 40 randomly selected Nigerian hip-hop music videos produced between 2010 and 2015. The findings of the study revealed a high level of hybridisation manifested as the blending of Yoruba cultural content into Nigerian hip-hop music. The study also established that hybridised hip-hop music, as a form of communication, exerts a positive influence on youths’ perception of indigenous culture and values.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"59 - 81"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1945946","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47852172","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

Close to a Century of Popular Music Practices and Experiences in Nigeria (1922–2020) and a Brief History of Their Socio-political Background 尼日利亚近一个世纪的流行音乐实践和经验（1922–2020）及其社会政治背景简史

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Muziki-Journal of Music Research in Africa Pub Date : 2021-01-02 DOI: 10.1080/18125980.2021.1958696

Chijioke Ngobili

{"title":"Close to a Century of Popular Music Practices and Experiences in Nigeria (1922–2020) and a Brief History of Their Socio-political Background","authors":"Chijioke Ngobili","doi":"10.1080/18125980.2021.1958696","DOIUrl":"https://doi.org/10.1080/18125980.2021.1958696","url":null,"abstract":"Abstract For 98 years (1922–2020), the entire corpus of popular music practices and experiences in Nigeria evolved and thrived almost uninterrupted until the great disruption caused when the World Health Organization (WHO) declared Severe Acute Respiratory Syndrome Coronavirus 2 (COVID-19) a global pandemic on 11 March 2020. Between 1922 and 2020, there have been hazy and unsteady creative attempts, incipient interactions and interruptions, generational changes and exchanges, and ideological shifts which have marked the evolution of Nigerian popular music. Based on a historical-analytical approach, this article reports on a study that aimed to recollect and explore the remarkable socio-political developments, transformations and perceptions that have consistently underpinned these 98 years of popular music practices/experiences in Nigeria. As part of the study findings, these years were divided into the following four periods: the foggy years (1922–1944); the interactive-budding period (1945–1969); the liberal period (1970–1999); and the mononationalist period (2000–2020). In part, the methodology relied on the oral accounts of some elderly and middle-aged Nigerian popular music artists, entrepreneurs, enthusiasts and analysts, as well as archival resources (print and audio-visual), and the extant literature on popular music in and social history of Nigeria. The findings also revealed transnational heritages and memorial continuities that partly and presently characterise these periods.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"34 - 58"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44807754","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

Employability Challenges Facing Vocal Art Graduates in South Africa: A Case Study of Tshwane University of Technology 南非声乐艺术专业毕业生就业面临的挑战——以茨瓦内理工大学为例

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Muziki-Journal of Music Research in Africa Pub Date : 2021-01-02 DOI: 10.1080/18125980.2021.1957002

S. Yende, George Mugovhani

{"title":"Employability Challenges Facing Vocal Art Graduates in South Africa: A Case Study of Tshwane University of Technology","authors":"S. Yende, George Mugovhani","doi":"10.1080/18125980.2021.1957002","DOIUrl":"https://doi.org/10.1080/18125980.2021.1957002","url":null,"abstract":"Abstract Unemployment has emerged as a global phenomenon that brutally affects young people, irrespective of whether they have academic qualifications, but is more prevalent and predominant in semi-peripheral and peripheral countries. Like graduates from other emerging countries, South African graduates are experiencing unemployment. The issue of unemployment in the performing arts industry has become a matter of great concern. Vocal Art (hereafter VA) graduates are finding it increasingly challenging to find a bridge between university and the industry of their profession. This article reports on a study that explored the relevance of the Performing Arts (Vocal Art) curriculum at the Tshwane University of Technology (TUT), Pretoria, South Africa, to employment opportunities for its graduates. A qualitative research method was employed using approaches such as a review of scholarly writings and interviews with arts graduates, lecturers, employers, VA performers, and selected performing arts industry practitioners and leaders. The findings demonstrated that there are a high number of arts graduates battling to find employment which is partly attributable to a lack of specific skills not catered for in the present curriculum. The study identified these special and relevant skills crucial for the performing arts industry. The article concludes by affirming that the TUT curriculum has to be redesigned, restructured and aligned with the continuously changing performing arts industry.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"110 - 126"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43431893","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: 4

Church Community Music Activities and the Benefits for Participants 教会社区音乐活动及参加者的好处

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Muziki-Journal of Music Research in Africa Pub Date : 2021-01-02 DOI: 10.1080/18125980.2021.1957001

A. D. de Villiers, Carolyn Rossouw

引用次数: 0

Editorial 编辑

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Muziki-Journal of Music Research in Africa Pub Date : 2021-01-02 DOI: 10.1080/18125980.2021.1977015

Marc Duby

引用次数: 0

Power, Powerlessness and Radical Protest in Contemporary Cameroonian Popular Music 当代喀麦隆流行音乐中的权力、无力和激进抗议

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Muziki-Journal of Music Research in Africa Pub Date : 2021-01-02 DOI: 10.1080/18125980.2021.1947154

E. M. Sone

{"title":"Power, Powerlessness and Radical Protest in Contemporary Cameroonian Popular Music","authors":"E. M. Sone","doi":"10.1080/18125980.2021.1947154","DOIUrl":"https://doi.org/10.1080/18125980.2021.1947154","url":null,"abstract":"Abstract The fraught relationship between popular music and the various kinds of power in Africa has stimulated intensive scholarship and encouraged heated discussions on the topic. Of special interest seems to be the multifaceted character of that interrelationship. It is generally agreed that artistic expression is influenced by political power and that the two mutually inform and shape each other. This article examines the themes of power, powerlessness and protest as they affect political governance in Cameroon, Central Africa, and as they are reflected in Cameroonian popular music. It further shows how popular songs are used to examine fundamental issues of national concern and to criticise the political leadership. The purpose of the article is to demonstrate how popular music can open a window of understanding into the current political process in Cameroon with a view to drawing implications for positive change. Written against the background of new historicism and postcolonial theories, the article is built on the assumption that popular music is a vibrant and dynamic form of oral literature which is shaped by social, economic and political forces in present-day Cameroon. As a result, popular music has the potential to play a role in influencing a society's perception and sense of direction. The article concludes by recommending that if the issues of power and marginality in Cameroon are to be addressed more successfully, and if the politically fraught conditions are to be ameliorated, then Cameroonians must be prepared to undergo a radical change of mentality.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"18 1","pages":"82 - 109"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1947154","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42548813","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

Mapping Places and Identities through Contemporary Bulawayo Popular Song Texts 通过当代布拉瓦约流行歌曲文本绘制地点和身份

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2020-07-02 DOI: 10.1080/18125980.2021.1927157

Nkululeko Sibanda, N. Dhlamini

引用次数: 0

In Pursuit of Recognition and the Expression of Power? Making Sense of Vulgarity in Zimdancehall 追求认同与权力表达?在Zimdancehall理解粗俗

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Muziki-Journal of Music Research in Africa Pub Date : 2020-07-02 DOI: 10.1080/18125980.2020.1794944

Blessed Parwaringira, P. Mpofu

{"title":"In Pursuit of Recognition and the Expression of Power? Making Sense of Vulgarity in Zimdancehall","authors":"Blessed Parwaringira, P. Mpofu","doi":"10.1080/18125980.2020.1794944","DOIUrl":"https://doi.org/10.1080/18125980.2020.1794944","url":null,"abstract":"Abstract While there are many refined musical productions, Zimdancehall is epitomised by the use of explicit vulgar lyrics. This article attempts to make sense of vulgarity in the musical genre against the knowledge that, although vulgarity is obnoxious in the public sphere, it is functional in specific contexts among the Shona people of Zimbabwe. Deploying a theoretical gaze that is grounded in concepts of indigenous knowledge systems, aesthetics of vulgarity and subalternity, the article grapples with Zimdancehall artists’ pursuit of creative power and recognition through unorthodox use of vulgar lyrics. The article shows the expediency of vulgarity in artists’ expressions of power, and how it is used to gain fame in a highly competitive music industry with established musicians. Such artistic power is gained through the “diss” modus, that is, through the appropriation of masculine supremacy and the subversion of femininity. Counter-hegemonic discourses are used to contest the dominance of rival artists by employing vulgar humour. It is one thing to pursue recognition, but it is another to be recognised. The use of vulgar lyrics alone does not always translate into artistic power and fame.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"18 - 39"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2020.1794944","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48053409","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: 2

Revitalising the Traditional Use of the Kudu Horn by the Bakwena of Botswana 振兴博茨瓦纳巴克韦纳人对库杜角的传统使用

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Muziki-Journal of Music Research in Africa Pub Date : 2020-07-02 DOI: 10.1080/18125980.2021.1905540

O. Phibion, Fana Rabatoko

{"title":"Revitalising the Traditional Use of the Kudu Horn by the Bakwena of Botswana","authors":"O. Phibion, Fana Rabatoko","doi":"10.1080/18125980.2021.1905540","DOIUrl":"https://doi.org/10.1080/18125980.2021.1905540","url":null,"abstract":"Abstract This article reports on research that was conducted among the Bakwena at the Molepolole main Kgotla (Tribal Administration Centre or traditional law court) as the chief’s place is known in Setswana (the Tswana language spoken in Botswana) in the Kweneng District of Botswana. The researchers were motivated by the information they gathered during their annual ethnomusicology class excursions to Molepolole. The research focused on the revitalisation and conservation of the traditional use of the lenaka la tholo (Setswana for kudu horn) through observation of its construction and practical performances. Nowadays, young people do not consider practising traditional music. Thus, the researchers found it necessary to embark on the research to revitalise the musical use of the traditional kudu horn. Much as culture is not static, the researchers found this aspect of culture to be relevant to the current life situation of the Bakwena among whom the research was conducted. The aim of the research was to find out what the Bakwena still practise as well as what could be documented for future use and reference about kudu horn blowing. The main reason for conducting this type of research is that performance of the lenaka la tholo is almost obsolete and there is a great need for its revival among the elders and youth of Botswana at large. During their annual visits, the researchers collected data by means of oral interviews, recordings, and observation of practical construction of the instrument and its performances. In carrying out the research, some information was also obtained from different repositories such as books, journals and the internet.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"40 - 50"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1905540","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47624653","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

“Siyahamba”: The Origins and Significance of a South African Chorus “Siyahamba”:南非合唱团的起源和意义

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Muziki-Journal of Music Research in Africa Pub Date : 2020-07-02 DOI: 10.1080/18125980.2021.1927806

B. Gorelik

{"title":"“Siyahamba”: The Origins and Significance of a South African Chorus","authors":"B. Gorelik","doi":"10.1080/18125980.2021.1927806","DOIUrl":"https://doi.org/10.1080/18125980.2021.1927806","url":null,"abstract":"Abstract Despite the enduring international popularity of the Zulu Christian chorus “Siyahamba” as a song of protest and praise, South African ethnomusicologists have not yet investigated its origins as well as its cultural and political significance. This article reports the results of an historical study which indicated that the earliest documented performance of the chorus took place in Dundee in the current uMzinyathi district of the former Natal province (now KwaZulu-Natal or KZN), South Africa, in 1952. No earlier publications or handwritten records of its score or lyrics have been found. However, it appears that this musical work has a longer undocumented history, connected to rural Methodist or Pentecostalist communities of the province. It originated in a church environment as a devotional chorus and grew to be closely associated with the anti-apartheid movement after it was adopted by the international campaign against the racist regime from the mid-1980s. “Siyahamba” has been perceived both locally and internationally as a popular song of praise with a strong political significance thanks to the popular songbook Freedom Is Coming by Anders Nyberg, the Swedish-South African composer and choral conductor, who made the earliest known field recording of the chorus, and dozens of influential hymnals that include “Siyahamba”. Chanted at rallies and public events, the historic South African tune continues to encourage campaigners for change worldwide.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"3 - 17"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1927806","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43892403","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