Music Cultures from Eastern Africa (BOOK) (original) (raw)
Related papers
2005
African music is an intrinsic part of some social event or occasion. The music is a communalfunctional expression closely bound up with daily human living and activities. Performance practice ofAfrican music is governed by function and context association, rule and procedure that determine howthe music should be performed. These underpinnings provide that the effectiveness of African songsdepend on the context in which the music is both heard and performed. The impact of globalisation hasmade the world become a small place, bridged and linked by modern technology. Musics of the world,both local and global, are available through the mass media. Many of such musics are used for teachingpurposes outside their cultural contexts of performances. With these principles and belief systems underlyingthe practice of African music, how should the music be treated, transmitted/handed down in itstransferred context? An attempt has been made to answer this question. The African perception on thel...
2020
Abstract. African music is an intrinsic part of some social event or occasion. The music is a communal functional expression closely bound up with daily human living and activities. Performance practice of African music is governed by function and context association, rule and procedure that determine how the music should be performed. These underpinnings provide that the effectiveness of African songs depend on the context in which the music is both heard and performed. The impact of globalisation has made the world become a small place, bridged and linked by modern technology. Musics of the world, both local and global, are available through the mass media. Many of such musics are used for teaching purposes outside their cultural contexts of performances. With these principles and belief systems underlying the practice of African music, how should the music be treated, transmitted/handed down in its transferred context? An attempt has been made to answer this question. The African...
2009
African music is an intrinsic part of some social event or occasion. The music is a communal functional expression closely bound up with daily human living and activities. Performance practice of African music is governed by function and context association, rule and procedure that determine how the music should be performed. These underpinnings provide that the effectiveness of African songs depend on the context in which the music is both heard and performed. The impact of globalisation has made the world become a small place, bridged and linked by modern technology. Musics of the world, both local and global, are available through the mass media. Many of such musics are used for teaching purposes outside their cultural contexts of performances. With these principles and belief systems un- derlying the practice of African music, how should the music be treated, transmitted/handed down in its transferred context? An attempt has been made to answer this question. The African percept...
Music to the Contemporary African
Journal of Social Sciences, 2007
Music is a phenomenon which accomplishes purposes in the lives of individuals or group of individuals. Africa has had remarkable pressures from foreign administrative invasions, social interactions, mass media, new curricular in formal education, alien religions, new job opportunities, and emerging technologies leading to some changes in the lives of individuals and indeed the entire society. The rate of change in music is directly proportional to the amount of pressure, level of resistance and the similarity of ideas being proposed. Since musical taste is individualistic, it is difficult to have everybody in the society to accept new ideas at the same rate. Besides this, sometimes, new music types in the society are additions to existing repertories and not replacements; leading to pluralist existence of concepts, utility and types/typologies of music in contemporary Africa. Music as a living corporate part of the society, cannot, but adapt to some of these changes so as to retain its usefulness in the scheme of human priorities. While conservatism does not encourage speedy propagation of African musical heritage to the wider world, issues of adaptation should be carefully visited in order to retain African identities in contemporary situations.
The Globalisation of African Musical Instruments: A Case of the Adeudeu of Teso Community in Kenya
African Musicology Online
There are various insights into the discourse of musical culture from a global context. Some of these insights include the impact of globalisation on the music industry and African music-making at large. African musical instruments continue to be cultural artifacts and productions of immaterial culture and music. African instruments have not remained static but have responded to intercultural reciprocity. This study stems from an ambit that has discussed African traditional musical instruments such as the Mbira, Kora, Djembe, and Endara of West and South Africa but needs to pay more attention to those from East Africa and Kenya in particular. This paper is a case study of the Adeudeu (a chordophone), a principal instrument of the Teso community in Western Kenya and a symbol of their cultural identity. The purpose is to highlight the extent to which traditional musical performances have been appropriated and retained in the contemporary setting creating their popular music. The study...
This paper is an attempt to define African musicology as a standalone discipline. The study of indigenous African music is, in the main, assumed to be the competency of ethnomusicology. That ethnomusicologists are musical anthropologists suggests that they, like anthropologists, labour at presenting the image of the African to the European as well as the American institutions for a plethora of reasons and purposes. This explains a sense of reluctance when coming to addressing the need to fashion an alternative discipline designed, to unravel the intricacies of indigenous African music for the benefit of the African processes of knowledge making. Since the efforts of one Kwabena Nketia fifty years or so ago, African musicology has not succeeded in entrenching itself. By asserting itself, African musicology could stand to benefit the study of African music, let alone its own disciplinary development into the 21st century.
Guest Lecture: "Dimensions of African Music in the New World", Dr. Kazadi wa Mukuna
2000
and the Federal University in Maranhao in Brazil. He has broadened his knowledge about world music while working for the Smithsonian Institution researching and coordinating Cultural Programs for the National Festival of American Folk Life. As a scholar, he is best known for his contributions in the field of traditional African music m the continent and in diaspora. Dr. Kazadi's experience extends to the urban music in Zaire and in Brazil. He is the author of several works in this domain, including Bantu Contribution in Brazilian Popular Music, Characteristics Criteria in the Vocal Music of the Luba-Shankadi Children, and African Children's Songs for American Elementary Schools. Dr. Kazadi is fluent in several languages, including French and Portuguese. Dr. Kazadi teaches numerous courses, including Music as a World Phenomenon, African Music and Culture, Introduction to Ethnomusicology, Seminar in Music of the Americas, Seminar in Music of Africa, and Seminar in Ethnomusicology. He is also director of the African Ensemble.