Download or read book The Origins Developments and Current Performance Practices of African Neo traditional Choral Music of Southern Africa written by Rudolf De Beer and published by . This book was released on 2007 with total page 386 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Cambridge Companion to Choral Music written by André De Quadros and published by Cambridge University Press. This book was released on 2012-08-16 with total page 359 pages. Available in PDF, EPUB and Kindle. Book excerpt: Bringing together perspectives on history, global activity and professional development, this Companion provides a unique overview of choral music.
Download or read book Some Elements of Neo traditional Performance Practice in Contemporary Zulu Choral Singing in the Hulemn Zone High School Choirs written by Edward Zabalaza Mthembu and published by . This book was released on 1994 with total page 88 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Music Modernity and the Global Imagination written by Veit Erlmann and published by . This book was released on 1999 with total page 321 pages. Available in PDF, EPUB and Kindle. Book excerpt: How do Western images of Africa and African representations of the West mirror each other? This study focuses on the tours of two black South African choirs in England and America in the 1890s, and the popularity of Ladysmith Black Mambazo since 1986.
Download or read book Sounding the Cape Music Identity and Politics in South Africa written by Denis-Constant Martin and published by African Books Collective. This book was released on 2013-07-12 with total page 474 pages. Available in PDF, EPUB and Kindle. Book excerpt: For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social ñ in this case pseudo-racial ñ identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Townís musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and ìracialî categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.
Download or read book Musical Bows of Southern Africa written by Sazi Dlamini and published by Bloomsbury Publishing USA. This book was released on 2020-12-10 with total page 224 pages. Available in PDF, EPUB and Kindle. Book excerpt: Musical Bows of Southern Africa brings together current scholarly research that documents a rich regional diversity as well as cultural relationships in bow music knowledge and contemporary practices. The book is framed as a critical appraisal of traditional ethnomusicological studies of the region – complementing pioneering studies and charting contexts for a contemporary engagement with bow music as an exchangeable cultural practice. Each contribution is written by an expert in the field and collectively demonstrates the multidisciplinary potential of bow music, highlighting the several fields of knowledge that intersect with bow music including ethno-organology, applied ethnomusicology, composition, music literacy, social development, cultural economics, history, orality, performance and language.
Download or read book Music Traditions Change and Creativity in Africa written by Giorgio Adamo and published by NeoClassica. This book was released on 2019 with total page 247 pages. Available in PDF, EPUB and Kindle. Book excerpt: In February 2014 an international seminar on musical dynamics and creativity in Africa was held at Tor Vergata University of Rome. The topic and the approach were strongly influenced by issues that Gerhard Kubik believed should have been addressed for a long time, such as the attention to cultural and social dynamics, with a specific emphasis on the creativity of individuals. Beside his keynote address, Music Traditions, Change and Creativity in Africa includes the contributions presented by scholars from different countries, particularly active in the East African area and in dialogue with Italian researchers who have field experience in the same region. Music Traditions, Change and Creativity in Africa is the first monograph of a series of volumes connected and inspired to the journal Etnografie Sonore / Sound Ethnographies (www.soundethnographies.it), which Giorgio Adamo and his colleagues recently founded. Along with the papers multimedia contents are also available online.
Download or read book African Stars written by Veit Erlmann and published by University of Chicago Press. This book was released on 1991-09-24 with total page 241 pages. Available in PDF, EPUB and Kindle. Book excerpt: In recent years black South African music and dance have become ever more popular in the West, where they are now widely celebrated as expressions of opposition to discrimination and repression. Less well known is the rich history of these arts, which were shaped by several generations of black artists and performers whose struggles, visions, and aspirations did not differ fundamentally from those of their present-day counterparts. In five detailed case studies Veit Erlmann digs deep to expose the roots of the most important of these performance traditions. He relates the early history of isicathamiya, the a cappella vocal style made famous by Ladysmith Black Mambazo. In two chapters on Durban between the World Wars he charts the evolution of Zulu music and dance, studying in depth the transformation of ingoma, a dance form popular among migrant workers since the 1930s. He goes on to record the colorful life and influential work of Reuben T. Caluza, South Africa's first black ragtime composer. And Erlmann's reconstruction of the 1890s concert tours of an Afro-American vocal group, Orpheus M. McAdoo and the Virginia Jubilee Singers, documents the earliest link between the African and American performance traditions. Numerous eyewitness reports, musicians' personal testimonies, and song texts enrich Erlmann's narratives and demonstrate that black performance evolved in response to the growing economic and racial segmentation of South African society. Early ragtime, ingoma, and isicathamiya enabled the black urban population to comment on their precarious social position and to symbolically construct a secure space within a rapidly changing political world. Today, South African workers, artists, and youth continue to build upon this performance tradition in their struggle for freedom and democracy. The early performers portrayed by Erlmann were guiding lights—African stars—by which the present and future course of South Africa is being determined.
Download or read book Beyond Memory written by Max Mojapelo and published by African Minds. This book was released on 2008 with total page 377 pages. Available in PDF, EPUB and Kindle. Book excerpt: South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still fi nds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.
Download or read book The Influence of Choral Arrangements and Historical Performance Practices of African American Spirituals on Selected Choruses in George Gershwin s Porgy and Bess written by Arlecia Jan Taylor and published by . This book was released on 2012 with total page 132 pages. Available in PDF, EPUB and Kindle. Book excerpt: George Gershwin (1898-1937) wrote an opera about black life, and he called it a "folk opera." This opera became the work now famously known as Porgy and Bess. But, rather than use traditional black folk music, Gershwin wrote his own music that emulated the African-American folk style. The result is a work comprising recitatives, solo arias, and ensemble and choral pieces that reference musical and stylistic features of the African-American spiritual. This paper will explore how Gershwin acquired knowledge of the musical materials and stylistic features of African-American choral arrangements of spirituals to influence his own representation of spirituals in Porgy and Bess. The paper will compare particular settings of spirituals published during the 1920s and 1930s. Works by such African-American composers as Harry T. Burleigh (1866-1949), R. Nathaniel Dett (1882-1943), and Hall Johnson (1888-1970) will be examined in context with selected choruses from Porgy and Bess. Scholars agree that Gershwin had a special talent for employing black music idioms in his compositions and possessed a penchant for combining musical styles. As black music was popular during the Harlem Renaissance, it might be expected that Gershwin would effectively incorporate black folk music traditions in his opera. Gershwin lived and worked during this seminal period of the African-American spiritual. Prior to Gershwin's birth, the concert arrangement of the spiritual had gained prominence with its introduction by the Jubilee Singers of Fisk University in Nashville, Tennessee. In 1871, the singers achieved renown by their reputable fund-raising concert tours throughout the United States and abroad. In the 1920s and 1930s the Harlem Renaissance was in full flowering, and published arrangements of spirituals were widely distributed and commonly heard in concerts, on film, and on radio broadcasts throughout America. Simultaneously, musical theater was at its peak, and notable concerts, featuring concert music of black composers by black performers were staged in New York. Gershwin owned published collections of spiritual arrangements, and had professional and personal associations with black musicians and composers from which he could further draw inspiration for his work on Porgy and Bess. Gershwin traveled to South Carolina twice, with librettist DuBose Heyward as guide, between 1933 and 1934, to hear and absorb the musical traditions of the Gullahs, the people on whom Gershwin based the opera's characters. Some of the music (i.e. "Oh, Doctor Jesus") was directly influenced by what Gershwin heard in South Carolina. The Gullah, or low-country spirituals featured in Heyward's novel (and subsequent play Porgy) were influential as well. An examination of several choral pieces from the opera reveals also the impact Gershwin's exposure to African-American choral arrangements of spirituals had on his creative imagination. Shortly after the premiere of Porgy and Bess, Gershwin explained in a New York Times article that he composed his "own spirituals" for the opera rather than insert traditional African-American folk songs because he wanted the music to be "all of one piece." Implicit in Gershwin's statement is the desire to create consistency in musical sound and style. So, he wrote several pieces in the style of spirituals to ensure musical continuity throughout the opera. In particular, several of the choral pieces show clear evidence of the influence of the choral arrangements of spirituals by African-American composers. These spirituals proliferated just prior to and during the time that Gershwin composed the opera. Finally, this paper will review the performance practice of spirituals, as revealed through recordings and as described by noted black scholars. It is the belief of this author that such detailed information can provide performers and scholars with an historical basis for choosing, studying, understanding, and performing choral excerpts from Porgy and Bess in ways that accurately reflect African-American folk music traditions.
Download or read book Hip Hop Africa written by Eric Charry and published by Indiana University Press. This book was released on 2012-10-23 with total page 405 pages. Available in PDF, EPUB and Kindle. Book excerpt: Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, Côte d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
Download or read book Composing the Music of Africa written by Malcolm Floyd and published by Routledge. This book was released on 2018-12-17 with total page 366 pages. Available in PDF, EPUB and Kindle. Book excerpt: First published in 1999, this volume explores the great diversity of music created by African communities is reflected in this book, which discusses the ways in which a wide range of musical forms are composed and performed from Egypt to South Africa and from Ghana to Kenya. As two composers explain here, this diversity provides much inspiration for western contemporary composition. Particular attention is paid to the contexts generate musical creativity. Ceremonies and festivals celebrating birth, death, marriage or rites of passage provide the impetus for much composition and performance, enabling young people to pick up, early on, some of the techniques and styles of which they then become the new exponents. The book also looks at the role played by formal music education programmes and bodies such as the South African Music Rights Organization and the South African Broadcasting Corporation in fostering musical activity, as well as the contribution of composers to the social and political changes that have dominated South African life in recent years.
Download or read book Black Composers of Southern Africa written by Yvonne Huskisson and published by HSRC Press. This book was released on 1992 with total page 128 pages. Available in PDF, EPUB and Kindle. Book excerpt: This publication contains details of a new up-and-coming generation of composers. It provides information on 318 composers and as such is a standard reference word on local composers.
Download or read book In Township Tonight written by David Bellin Coplan and published by Longman Publishing Group. This book was released on 1985 with total page 312 pages. Available in PDF, EPUB and Kindle. Book excerpt: The author's pioneering social history of black South Africa's urban music, dance, and theatre established itself as a classic soon after its publication in 1985. As the first substantial history of black performing arts in South Africa, this book was championed by a broad range of scholars and treasured by fans of South African music. In vivid detail, Coplan comprehensively explores more than three centuries of the diverse history of South Africa's black popular culture, taking readers from indigenous musical traditions into the world of slave orchestras, pennywhistlers, clergyman-composers, the gumboot dances of mineworkers, and touring minstrelsy and vaudeville acts. This up-to-date edition of a landmark work will be welcomed by scholars of ethnomusicology and African studies, world music fans, and anyone concerned with South Africa and its development.
Download or read book Cape Town Harmonies written by Armelle Gaulier and published by African Books Collective. This book was released on 2017-07-19 with total page 370 pages. Available in PDF, EPUB and Kindle. Book excerpt: "Cape Towns public cultures can only be fully appreciated through recognition of its deep and diverse soundscape. We have to listen to what has made and makes a city. The ear is an integral part of the research tools one needs to get a sense of any city. We have to listen to the sounds that made and make the expansive mother city. Various of its constituent parts sound different from each other [T]here is the sound of the singing men and their choirs (teams they are called) in preparation for the longstanding annual Malay choral competitions. The lyrics from the various repertoires they perform are hardly ever written down. [] There are texts of the hallowed Dutch songs but these do not circulate easily and widely. Researchers dream of finding lyrics from decades ago, not to mention a few generations ago back to the early 19th century. This work by Denis Constant Martin and Armelle Gaulier provides us with a very useful selection of these songs. More than that, it is a critical sociological reflection of the place of these songs and their performers in the context that have given rise to them and sustains their relevance. It is a necessary work and is a very important scholarly intervention about a rather neglected aspect of the history and present production of music in the city."
Download or read book The Kachamba Brothers Band written by Gerhard Kubik and published by Manchester University Press. This book was released on 1974 with total page 104 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Nightsong written by Veit Erlmann and published by University of Chicago Press. This book was released on 1996-03-01 with total page 462 pages. Available in PDF, EPUB and Kindle. Book excerpt: First popularized by Ladysmith Black Mambazo and Paul Simon, the a cappella music known as isicathamiya has become internationally celebrated as one of South Africa's most vibrant and distinct performance traditions. But Ladysmith Black Mambazo is only one of hundreds of choirs that perform "nightsongs" during weekly all-night competitions in South Africa's cities. Veit Erlmann provides the first comprehensive interpretation of isicathamiya performance practice and its relation to the culture and consciousness of the Zulu migrant laborers who largely compose its choirs. In songs and dances, the performers oppose the class and racial oppression that reduces them to "labor units." At the same time, Erlmann argues, the performers rework dominant images to symbolically reconstruct their "home," an imagined world of Zulu rural tradition and identity. By contrasting the live performance of isicathamiya to its reproduction in mass media, recordings, and international concerts, Erlmann addresses important issues in performance studies and anthropology, and looks to the future of isicathamiya live performance in the new South Africa. Featuring an Introduction by Joseph Shabalala, the lead singer and founder of Ladysmith Black Mambazo, this book will be essential reading for anyone interested in the study of music, performance, popular culture, or South Africa.
