About the Book
Related Titles
- The Garland Handbook of African Music, Second Edition
- Edited by Ruth M. Stone
- 978-0-415-96102-8
The Garland Handbook of African Music is comprised of essays from The Garland Encyclopedia of World Music: Volume 1, Africa, (1997). Revised and updated, the essays offer detailed, regional studies of the different musical cultures of Africa and examine the ways in which music helps to define the identity of this particular area.
- The African Diaspora
- Ingrid Monson
- 978-0-815-32382-2
In eleven original essays, this collection examines such diverse musics and issues as the blues aesthetic and the African diaspora in jazz performance; different versions of the 1939 song Mbube, also known as The Lion Sleeps Tonight; the globalization of jazz from an insider's perspective; the power of women in the popular wassoulou music of Mali; the mamaya repertory of Guinea in the 1930s and 40s; Yoruba folk opera; traditional Ewe music as taught by the Dagbe Cultural Institute in Ghana; the role of militarism in Haitian vodou music; musical revivals and social movements in contemporary Martinique; and the role of African diaspora in the music and statements of jazz drummer Art Blakey. The contributors in this volume address why music claims such pride of place in the African diasporic population, and to provide particular examples of the interweaving of the local and global in the lives of musicians and their audiences.
- Representing African Music
- Kofi Agawu
- 978-0-415-94390-1
The aim of this book is to stimulate debate by offering a critique of discourse about African music. Who writes about African music, how, and why? What assumptions and prejudices influence the presentation of ethnographic data? To what orders of authority do scholars appeal? What ethical considerations motivate individual scholars? Even the term ‘African music’ suggests there is an agreed-upon meaning, but African music signifies differently to different people. This book also poses the question, then, “What is African music?” Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative, ‘Afro-centric’ means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate — and new thinking &mda among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples.