While traditional music, the backbone of Africa's musical thinking, receives the most attention, Agawu also supplies insights into popular and art music in order to demonstrate the breadth of the African musical imagination. Close readings of a variety of songs, including an Ewe dirge, an Aka children's song, and Fela's 'Suffering and Smiling' supplement the broader discussion. The African Imagination in Music foregrounds a hitherto under-reported legacy of recordings and insists on the necessity of experiencing music as sound in order to appreciate and understand it fully.
Accordingly, a Companion Website features important examples of the music discussed in detail in the book. Accessibly and engagingly written for a general audience, The African Imagination in Music is poised to renew interest in Black African music and to engender discussion of its creative underpinnings by Africanists, ethnomusicologists, music theorists and musicologists.
Based on four Ghanaian rhythmic groups Sikyi, Adowa, Gahu and Akom , this book and CD will provide drumset players with a "new" vocabulary based on some of the oldest and most influential rhythms in the world. A groundbreaking presentation! The patterns of traditional percussion instruments are transferred to the drums, thus turning short patterns and combinations into authentic grooves on the drumset.
All rhythms and examples on the accompanying CD have been performed and recorded by the author himself for listening and playing along. Over the course of two volumes, Kubik, one of the most prominent experts in the field, draws on his extensive travels and three decades of study throughout Africa to compare and contrast a wealth of musical traditions from a range of cultures.
Drawing on his remarkable ability to make cross-cultural comparisons, Kubik illuminates every facet of the African understanding of rhythm, from timing systems to elementary pulsation. Profusely illustrated; excellent discography.
It provides a historical overview of the development of these instruments, and their use in worship. Individual chapters cover the sounds and technical basis of the instruments. Finally the author considers instrument design and the patterns with which they may be decorated. Score: 5. More than just a drumming book, this easy-to-use method immerses teachers and students in traditional West African music, dance and culture through a step-by-step curriculum that maintains cultural authenticity.
The image of the drum was effectively appropriated by Europeans and Americans who wrote about African American culture, particularly in the nineteenth century, and re-appropriated by African American poets and painters in the early twentieth century who recreated a positive nationalist view of their African past.
Throughout human history, cultural objects have been banned by one group to be used another, objects that include books, religious artifacts, and ways of dress. This study unlocks a metaphor that is at the root of racial bias—the idea of what is primitive—while offering a fresh approach by promoting the construct of multiple-points-of-view for this social-historical presentation. It asserts their immigrant status as a central force in nourishing, informing, and propelling musical and artistic concerns, uncovering pure and fresh forms of expression that broaden the multicultural map of Mexico.
The text guides readers in appreciation of the aesthetic and technical achievements of original works and innovative performances, with artistic and pedagogical implications that frame a vivid picture of the contemporary Mexican as immigrant creator in the United States. Artistic and academic voices shape and enrich the multicultural diversity of both countries, as immigrant Mexican artists and their musics prove instrumental to the forming of a self-critical society compelled to value and embrace its diversity.
Despite conflicting political reactions on this complex subject of legal and illegal immigration, undeniable is the influence of Mexican musical expressions in the United States and Mexico, at the border and beyond. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues.
Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa, Brazil, Venezuela, and the United States, he spent forty years in the field gathering the material for Africa and the Blues.
In this book, Kubik relentlessly traces the remote genealogies of African cultural music through eighteen African nations, especially in the Western and Central Sudanic Belt.
Included is a comprehensive map of this cradle of the blues, along with 31 photographs gathered in his fieldwork. The author also adds clear musical notations and descriptions of both African and African American traditions and practices and calls into question the many assumptions about which elements of the blues were "European" in origin and about which came from Africa.
Unique to this book is Kubik's insight into the ways present-day African musicians have adopted and enlivened the blues with their own traditions. With scholarly care but with an ease for the general reader, Kubik proposes an entirely new theory on blue notes and their origins.
Tracing what musical traits came from Africa and what mutations and mergers occurred in the Americas, he shows that the African American tradition we call the blues is truly a musical phenomenon belonging to the African cultural world [Publisher description].
Author : Chinua Achebe Publisher: S. Author : Alice D. Author : Mark C. Using a simple, yet lively writing style, and an abundance of illustrations, it is easily accessible to readers with no previous knowledge of music -- or any technical sophistication.
Written by an active jazz musician and eminent jazz historian, this brief yet substantive introduction to jazz examines how jazz originated, how it is made, what to listen for, the major style eras, and the individual styles of 40 historically significant jazz musicians. These styles include early jazz Dixieland ; swing; bebop; cool jazz; hard bop; avant-garde of the s and 7Os; and jazz-rock fusion.
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