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STILL RECORDING AFRICAN MUSIC IN THE FIELD
Get PDFField sound recordings are an indispensable source of data for ethnomusicologists. However, to my knowledge there are no standards or guidelines of how this data should be captured and managed. With the progress made in machine learning, it has become vital to record data in a way that also supports the retrieval of information about the music. This article describes a model developed for field recordings that aims to aid an objective data gathering process. This model, developed through an action research process that spanned multiple field recording sessions from 2009–2015, include recording equipment, production processes, the gathering of metadata as well as intellectual property rights. The core principles identified in this research are that field recording systems should be designed to provide accurate feedback as a means of quality control and should capture and manage metadata without relying on secondary tools. The major findings are presented in the form of a checklist that can serve as a point of departure for ethnomusicologists making field recordings
IN A WORLD OF THEIR OWN: MEMORY AND IDENTITY IN THE FISHING SONGS OF A MIGRANT EWE COMMUNITY IN GHANA
Get PDFThe musical traditions of the southern Ewe of Ghana; particularly the Anlo, have been subject to a substantial amount of research. Existing research has focused on Anlo musical traditions as practiced in its original context. Comparably little is known about these musical traditions as performed by Anlo migrants living and working among a linguistically and culturally different ethnic group. Furthermore, fishing songs of the Anlo, even at home, have escaped most academic research. In this article, I address both shortcomings by focusing on Anlo fishing songs as performed by a migrant Anlo community living among the Fante in Cape Coast. Employing a variety of qualitative research techniques such as in-depth interviews, participant observation and a two-way inter-subjectivity, I explore the extent to which these fishing songs serve purposes beyond their perceived role of accompanying and easing work. Specifically, I examine how the fishing songs of the migrant Ewe community provide a solid basis for negotiating individual and collective memories and identities
\u27YET NONE WITH TRUER FERVOUR SING\u27: CORONATION SONG AND THE (DE)COLONIZATION OF AFRICAN CHORAL COMPOSITION
No full textIn 1937, the Se(Sotho) composer, Mohapeloa published \u27Coronation Song\u27 a short a cappella choral work that celebrates the coronation of King George VI and which is ostensibly rooted in his colonial experience of the British Protectorate of Basutoland. It was reprinted in Morija in 1939 as \u27Coronation March\u27, by which time it was clear that this song\u27s political message was at odds with his other songs. Reprinted in 1945, 55, 66, and 80 with minor changes, the song becomes increasingly anachronistic. Mohapeloa suddenly rewrote it in the mid 1970s, 10 years after Lesotho gained independence, by transforming it into a patriotic song, \u27Lesotho Our Heritage\u27 (\u27Lesotho Lefa la RÅna\u27). This article traces the song\u27s journey through decades of political change by means of a close hermeneutic reading of its text, musical language and structure, arguing that the music had always identified with two political tendencies, the one European and colonizing, the other American and decolonizing. It was this ambiguity that kept Mohapeloa\u27s interest and led to his last version of the song, finally published only in 2015
The Changing Faces of Aawambo Musical Arts. Minette Mans. 2017. Switzerland: Basel Afrika Bibliographien. 56 bw figures (photographs, sketches), 24 transcriptions, glossary, bibliography, index, 188pp.
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Understanding African music -- Listen and learn: music made easy -- For future generations: Hugh Tracey and the International Library of African Music -- Sound of Africa -- Music of Africa -- Historical recordings by Hugh Tracey -- ILAM and Ubuntu Publishing -- The Dhow Countries Music Academy: Zanzibar
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