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Sounding the Cape: Music, Identity and Politics in South Africa. Denis-Constant Martin. 2013. Somerset West, South Africa: African Minds. 444pp.
Get PDFLiving the Hiplife: Celebrity and Entrepreneurship in Ghanaian Popular Music. Jesse Weaver Shipley. 2013. London and Durham, NC: Duke University Press. 329pp.
Get PDFKavango music
Get PDFFrom 1979 to 1988 I conducted a number of church music composition workshops in Kavango, among the various population groups there. Because the workshop participants were very much in touch with their traditional music, the music which they produced in those workshops provided excellent material for a study of Kavango musical style. The workshop recordings, together with recordings of traditional instrumental songs made during those trips, provide the data that enabled the writing of this article, the first attempt to document analytically the elements of Kavango music. Much of the material in the preliminary section is based on the books Fleisch and Mohlig (2002) and Gibson et al. (1981)
The singer Anne-Marie Nzié and the song "liberté": on popular music and the poscolonial state in Cameroon
Get PDFIn November 2008, the 60th anniversary of singer Anne-Marie Nzié\u27s career was celebrated in Yaounde, the capital of Cameroon. The Ministry of Culture and the President of Cameroon organised an overwhelming number of festivities in honour of the popular singer. Anne-Marie Nzié was celebrated as Cameroon\u27s pioneer female musician and one of the most popular singers of the country, and reading between the lines, she was additionally honoured for her life-long loyalty to the Cameroonian nation and especially the ruling powers of the postcolonial state. The life and career of Anne-Marie Nzié, over 80 years of age at time of writing in 2013, are inextricably linked to the cultural politics of the Republic of Cameroon since its independence in 1960
Music for the unseen: interaction between two realms during a Gnawa lila
Get PDFMoroccan Gnawa music is intended for sacred spirit possession rituals called lila. During a lila, sequential performances of possession dance take place. In the oral tradition of Gnawa practice, no explicit discourse seems to exist for these interactions. This paper investigates how variation in musical processes and possession dance correlate during a single performance of trance. My governing questions are: 1) how does music occur in the various stages of trance, and 2) what do musical processes tell us about the abstract phenomenon of trance? 3) Does a transitional phase exist that is expressed in a musical phrase? Following from Rouget\u27s concept that music is a technique of communication of the human world in order to facilitate trance and validate ritual beliefs, my interest lies in deciphering what music communicates about trance and how music (and dance) communicates the interaction between the temporal and supernatural in Gnawa rituals
