New books! International Library of African Music (original) (raw)
Related papers
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.
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...
African music and its use in the school: an investigation
2021
The purpose of this dissertation is to investigate the educational possibilities of African music in all schools. To the best of the author's knowledge, African music is almost completely ignored in most non-African schools in South Africa, and where it is taught, the essential elements which make the music "African" are almost completely ignored. It seems deplorable that such a rich musical resource has hardly been tapped in the non-African school. This state of affairs comes about because of negative attitudes towards things African in general and towards the African in particular. In his research in the Western Cape, the author has found that Africans no longer play traditional musical instruments such as the bow and that there is an increasing tendency to move away from traditional musical instruments in favour of Western ones. It is hoped therefore that this dissertation will lead to an appreciation of African music at all schools and that it will somehow contribu...
Music Cultures from Eastern Africa (BOOK)
This is a book that Mathayo Ndomondo and I co-edited., 2016
Music Cultures from Eastern Africa presents nine essays concerning various aspects of the music cultures from East African region. The book features discussions about the music of Tanzania, Kenya and Mayotte Island. It also discusses the transmission of Eritrean music in the USA. Themes covered in this book include the role of music in cultural celebrations and in creating and disseminating knowledge about HIV/AIDS; the socio-cultural life and histories of music instruments and the adaptation and use of indigenous African music in contemporary schools, music festivals, and competitions; as well as the sharing of music and music aesthetic reflections through YouTube and other media. Authors: 1. Charles Nyakiti Orawo, 2. Kedmon Mapana, 3. Imani Sanga, 4. Mathayo Ndomondo 5. Donald Otoyo Ondieki, 6. Gabriel Musungu, 7. Duncan M. Wambungu, 8. Alain Marshall Henry, and 9. David Aarons
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.