Pub Date : 2018-07-03DOI: 10.1080/18125980.2018.1556909
Marc Duby
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Pub Date : 2018-07-03DOI: 10.1080/18125980.2018.1527660
Stephen Olabanji Boluwaduro
Abstract Popular art remains a magnetic force that appeals to both high- and low-profile people from all walks of life and from diverse climes and creeds. This paper scrutinises the symbiotic relationship between music, a form of popular art, and Lagos, Nigeria’s urban entertainment hub. In extending the frontiers of empirical inquiry, the study also appraises the mode of give-and-take by which music and its agency vis-à-vis the Lagos metropolis negotiate the indigenous soundscape of the postcolonial metropolis. This paper unearths the cultural bonds and social interactive cohesion that served as the springboard on which Lagos was built as an African mega-metropolis and on which African music is repositioned as a global brand. Against the backdrop of the norm of reciprocity, this paper examines the kinship and mutual exchange of social consciousness between the metropolis and musical agencies. The paper asserts social, cultural, political, and economic contexts as sites for the vocalisation of space in sounds and the localisation of sounds in socio-space, with evidence of mutual exchange and interaction through musical performance and the production of geographical space.
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Pub Date : 2018-01-02DOI: 10.1080/18125980.2018.1503560
L. Ncube, Fiona Chawana
ABSTRACT Raewyn Connell defines hegemonic masculinity as the most “honoured” way of being a man, and as such all men in patriarchal societies are expected to try to meet the standards of hegemonic masculinity (Connell and Messerschmitt 2005). It can be encountered in a variety of everyday contexts, one of which is sporting events. This article explores the authors’ ethnographic encounters with hegemonic masculinities amongst football fans in Zimbabwe, particularly in the songs they sing. Utilising Connell’s concept of hegemonic masculinity, the authors argue that Zimbabwean football fandom is entangled with hegemonic masculinities. The article demonstrates a simultaneously covert and subtle, but always complex, relationship between football fandom and masculinities, specifically hegemonic masculinity. The study’s major conclusion is that hegemonic masculinity is strongly discursive and occasionally occurs even in seemingly harmless mundane banter, such as stadium songs. Despite the sometimes jovial nature of these performances, there are power undercurrents involved.
康奈尔(Connell and Messerschmitt, 2005)将男性霸权定义为作为一个男人最“受人尊敬”的方式，因此男权社会中的所有男性都被期望努力达到男性霸权的标准。它可以在各种日常环境中遇到，其中之一就是体育赛事。这篇文章探讨了作者在民族志上与津巴布韦球迷中的霸权男子气概的接触，特别是在他们唱的歌曲中。利用康奈尔的霸权男子气概概念，作者认为津巴布韦的足球迷与霸权男子气概纠缠在一起。这篇文章展示了足球迷与男子气概，特别是霸道的男子气概之间既隐蔽又微妙，但总是复杂的关系。这项研究的主要结论是，霸道的男子气概是强烈的话语，偶尔甚至出现在看似无害的世俗玩笑中，比如体育场的歌曲。尽管这些表演有时带有欢快的性质，但其中也包含着权力的暗流。
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Pub Date : 2018-01-02DOI: 10.1080/18125980.2018.1527115
Marc Duby
{"title":"Editorial","authors":"Marc Duby","doi":"10.1080/18125980.2018.1527115","DOIUrl":"https://doi.org/10.1080/18125980.2018.1527115","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"1 - 3"},"PeriodicalIF":0.3,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1527115","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49621319","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/18125980.2018.1432992
E. Sylvanus
ABSTRACT While attempts have recently been made to theorise film and film music practice in Nigeria, its televisual counterpart is characterised by a dearth of musicological inquiry. As an original and preliminary contribution, this article interrogates and explains how television and TV music practice have been approached in Nigeria from 1959 to date. In light of this survey, two distinct periods have emerged: the protectionist (1959–1989) and the open (beyond 1990) eras. Specifically, this article analyses TV music practice based on events, situations, industry behaviour, and factors that aided, impeded, or determined its development in Nigeria. Practitioners’ oral accounts, textual and processual analyses, and relevant musical transcriptions are employed to demonstrate how the Nigerian TV music tradition evolved over five decades.
{"title":"A Brief History of TV and TV Music Practice in Nigeria","authors":"E. Sylvanus","doi":"10.1080/18125980.2018.1432992","DOIUrl":"https://doi.org/10.1080/18125980.2018.1432992","url":null,"abstract":"ABSTRACT While attempts have recently been made to theorise film and film music practice in Nigeria, its televisual counterpart is characterised by a dearth of musicological inquiry. As an original and preliminary contribution, this article interrogates and explains how television and TV music practice have been approached in Nigeria from 1959 to date. In light of this survey, two distinct periods have emerged: the protectionist (1959–1989) and the open (beyond 1990) eras. Specifically, this article analyses TV music practice based on events, situations, industry behaviour, and factors that aided, impeded, or determined its development in Nigeria. Practitioners’ oral accounts, textual and processual analyses, and relevant musical transcriptions are employed to demonstrate how the Nigerian TV music tradition evolved over five decades.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"37 - 57"},"PeriodicalIF":0.3,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1432992","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41765653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/18125980.2018.1426705
Barry Bilderback
ABSTRACT As internationalism rings ever louder in 21st century classrooms, terms such as “global citizenship,” “beyond tolerance” “and “multicultural awareness” apply to preparing students for diversity-steeped futures. Although such learning-outcomes language appears current to some, tendencies to work together with profound results have taken past forms. One such example is the lesser-known exchange between Ghana's Dr Komla Amoaku and Germany's Carl Orff. In collaborating, the two unlikely matched pedagogues forged a unity from which grew Ghanaian-based programmes such as the Institute for Music and Development, Orff in Afrique, and the Nunya Music Academy. Furthermore, through Orff Schulwerk societies, conferences, and classrooms, the occidental and West-African blend is presented to select groups around the world. Just as current multicultural language speaks to contemporary education, the Amoaku Orff initiatives spoke to musical multiculturalism well before such language was educational lingua franca. As 2017 marks the five year memoriam of the late Dr Komla Amoaku within 60 years of Ghanaian independence, an account of the understated historic background defining Dr Komla Amoaku and resulting precepts guiding Orff in Afrique programming is fitting.
{"title":"Orff in Afrique Programming and the Master Drummer’s Call: The Late Professor Komla Amoaku’s Philosophy in Practice","authors":"Barry Bilderback","doi":"10.1080/18125980.2018.1426705","DOIUrl":"https://doi.org/10.1080/18125980.2018.1426705","url":null,"abstract":"ABSTRACT As internationalism rings ever louder in 21st century classrooms, terms such as “global citizenship,” “beyond tolerance” “and “multicultural awareness” apply to preparing students for diversity-steeped futures. Although such learning-outcomes language appears current to some, tendencies to work together with profound results have taken past forms. One such example is the lesser-known exchange between Ghana's Dr Komla Amoaku and Germany's Carl Orff. In collaborating, the two unlikely matched pedagogues forged a unity from which grew Ghanaian-based programmes such as the Institute for Music and Development, Orff in Afrique, and the Nunya Music Academy. Furthermore, through Orff Schulwerk societies, conferences, and classrooms, the occidental and West-African blend is presented to select groups around the world. Just as current multicultural language speaks to contemporary education, the Amoaku Orff initiatives spoke to musical multiculturalism well before such language was educational lingua franca. As 2017 marks the five year memoriam of the late Dr Komla Amoaku within 60 years of Ghanaian independence, an account of the understated historic background defining Dr Komla Amoaku and resulting precepts guiding Orff in Afrique programming is fitting.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"13 - 4"},"PeriodicalIF":0.3,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1426705","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41841749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/18125980.2017.1385411
S. Tyali
ABSTRACT The importance of music as a tool for political communication is widely acknowledged. In many societies and their respective traditions, cultures and customs, music has been central in reflecting the historical, contemporary and future aspirations of such communities. In reference to South Africa, recent student movements have been central in calling into question the postcolonial status of the country amid its colonial legacies. These movements have relied on decolonial discourses (#RhodesMustFall, #FeesMustFall, #StatuesMustFall) and have deployed them as a means of critiquing the condition of “formerly” colonised subjects within South Africa's postcolonial status. This paper focuses on the role of music in understanding colonial legacies within a postcolony. It deploys decolonial theories as a means of understanding the lived condition of black people and particularly Africans in the “post” settler colonial context of South Africa. Using Letta Mbulu's hit song “Not Yet Uhuru,” the paper argues that her lyrical message is instrumental in understanding the “colonial situation” within the country. Therefore in this paper, the question of the continuities and discontinuities of coloniality is read through Mbulu's lyrical content. Ultimately, the central argument of the paper relies on the role of music as a form of political or decolonial communication and how such can be instrumental in understanding the legacies of the past within postcolonial South Africa.
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Pub Date : 2018-01-02DOI: 10.1080/18125980.2016.1249165
K. Khan
ABSTRACT Scholarship on war songs in Zimbabwe tends to emphasise male-centred discourses that ignore the role of female combatants’ views and voices of the struggle in “narrating the nation” (with H. K. Bhabha, Nation and Narration, 1990). The aim of this article is to restore female voices by female combatants to convey their own realities about Zimbabwe’s liberation struggle. Although there are many songs sung by women about the armed struggle, this article samples three songs to demonstrate that women used different methods to raise people’s political consciousness through the power of song. The songs to be textually analysed are “Zvinozibwa neZANU” (“Only ZANU knows about it”); “Tora Gidi Uzvitonge” (“Take the gun and liberate yourself”) and “Kugarira Nyika Yavo” (“To defend their country”). This article will demonstrate how women singers broke the silence by fighting in the liberation of Zimbabwe through the gun and the song.
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Pub Date : 2018-01-02DOI: 10.1080/18125980.2018.1467367
C. Cupido
ABSTRACT Music performance anxiety (MPA) is not unusual among musicians. It is argued that singer-teachers who teach at tertiary institutions experience MPA because of the nature of their work and working environment, and this is exacerbated by striving for perfection which is often associated with this group of performing pedagogues. The purpose of the current study is to understand the manifestation of MPA and perfectionism in the lived experiences of a group of singer-teachers. The author deployed transcendental phenomenology in order to understand this phenomenon. The research of Frost et al. (1990), Sandgren (2002) and Kenny (2011) serves as a structural framework for this article. Singer-teachers place severe pressure on themselves because of their profession. The self-induced pressure because of the pursuit of tenure and concerns over their voices and success are the main triggers of MPA. Perfectionism manifests as a result of personal standards that they apply in their teaching, as well as expectations and criticism from colleagues and concern about making mistakes in front of their students and colleagues. MPA is also exacerbated by self-doubt and singer-teachers’ desire for approval, reassurance, and acceptance from colleagues and students.
音乐表演焦虑(MPA)在音乐家中并不少见。有人认为，在高等院校任教的歌手教师由于他们的工作性质和工作环境而经历MPA，并且由于追求完美而加剧了这种情况，这通常与这群表演教师有关。本研究的目的是了解一群歌手教师的生活经验中MPA和完美主义的表现。作者运用先验现象学来理解这一现象。Frost et al.(1990)、Sandgren(2002)和Kenny(2011)的研究作为本文的结构框架。由于他们的职业，歌手教师给自己施加了很大的压力。由于追求终身职位而产生的自我压力以及对自己的声音和成功的担忧是MPA的主要诱因。完美主义表现为他们在教学中采用的个人标准，同事的期望和批评，以及在学生和同事面前犯错的担忧。自我怀疑和歌手教师渴望得到同事和学生的认可、安慰和接受，也加剧了MPA的恶化。
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Pub Date : 2018-01-02DOI: 10.1080/18125980.2018.1492883
O. J. Oyedele
ABSTRACT Renowned musicians in Nigeria have formed part of the struggle against the repressive military junta, injustice, corruption, and the crises of the colonial, military, and civilian regimes. Evidence abounds in the literature and the public domain that the orientation of these musicians made them nationalists, and their music an important medium for socio-political and economic development. However, with the upsurge in celebrity politicians, nowadays many orientations are employed by popular musicians to sell politicians. In Nigeria, where empirical studies and global development statistics show that corruption and bad leadership seriously undermine socio-economic development, the roles of popular musicians as crusaders for good governance are under serious scrutiny. This article examines whether the legacy formerly promoted by renowned musicians is still promoted by popular musicians of this era. Analyses of two songs, composed by two popular Fuji musicians, Abass Akande and Wasiu Ayinde, for Otunba Alao Akala and Senator Abiola Ajimobi in Oyo State respectively, show that instead of serving as watchdogs or social crusaders holding politicians accountable to the electorate, popular musicians praise politicians. This detour in orientation undermines the ideals of renowned musicians of the pre-independence and independence era, with serious implications for the nation’s social and political development.
{"title":"Popular Fuji Musicians as Political Marketers in Nigerian Elections","authors":"O. J. Oyedele","doi":"10.1080/18125980.2018.1492883","DOIUrl":"https://doi.org/10.1080/18125980.2018.1492883","url":null,"abstract":"ABSTRACT Renowned musicians in Nigeria have formed part of the struggle against the repressive military junta, injustice, corruption, and the crises of the colonial, military, and civilian regimes. Evidence abounds in the literature and the public domain that the orientation of these musicians made them nationalists, and their music an important medium for socio-political and economic development. However, with the upsurge in celebrity politicians, nowadays many orientations are employed by popular musicians to sell politicians. In Nigeria, where empirical studies and global development statistics show that corruption and bad leadership seriously undermine socio-economic development, the roles of popular musicians as crusaders for good governance are under serious scrutiny. This article examines whether the legacy formerly promoted by renowned musicians is still promoted by popular musicians of this era. Analyses of two songs, composed by two popular Fuji musicians, Abass Akande and Wasiu Ayinde, for Otunba Alao Akala and Senator Abiola Ajimobi in Oyo State respectively, show that instead of serving as watchdogs or social crusaders holding politicians accountable to the electorate, popular musicians praise politicians. This detour in orientation undermines the ideals of renowned musicians of the pre-independence and independence era, with serious implications for the nation’s social and political development.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"108 - 89"},"PeriodicalIF":0.3,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1492883","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44248029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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