African Music: Journal of the International Library of African Music 2019-12-03T06:19:04+00:00 Dr Lee Watkins Open Journal Systems <p><cite>African Music</cite> (ISSN 0065-4019, eISSN 2524-2741) is an annual, peer reviewed, accredited, academic journal established in 1954 by Hugh Tracey, founder of the International Library of African Music. The journal publishes original articles, not previously published, pertaining to contextualized studies of African music and related arts. Since it was re-launched in 2007 it features a CD compilation of audio examples illustrating the articles in each edition, which generally consists of field recordings from the article authors' research.</p> Frontmatter 2019-12-02T18:58:59+00:00 Lee Watkins 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Editorial 2019-12-02T18:58:59+00:00 Lee Watkins 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## CARÁNGANO AND WOMEN: STORY OF AN INSTRUMENT THREATENED WITH EXTINCTION 2019-12-03T06:19:04+00:00 Andrea Trujillo <p>This article describes the results of an ethnomusicological study on the carángano, a ground bow instrument played only by women in the small villages of the Colombia Caribbean region. Before the introduction of electricity, the inhabitants contemplated the full moon as the women played, danced and laughed to the sound of this instrument. This instrument is now almost extinct. In this article, the social function, organological structure and repertoire of this instrument are analysed. The relationship between the carángano and other ground bows such as the tingo-talango or the dumbu-kalinga and sekituleghe on the American and African continents is discussed. These musical practices require urgent attention since they harbour musical and identification values belonging to the Colombian Caribbean region while sharing cultural aspects which connect Africans and African descendants across vast distances.</p> 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## “THIS COUNTRY OF CHINA IS TOUGH”: NIGERIAN IMMIGRANT MUSIC MAKING IN GUANGZHOU, CHINA 2019-12-03T04:26:06+00:00 Manolete Mora This article concerns Nigerian music making in Guangzhou, one of China’s leading manufacturing and trading centres, and where the largest groups of Africans in China, more generally, are concentrated. Nigerians are the largest community of Africans in Guangzhou and, like other Africans traders, practice what has been referred to as “low-end globalisation” (Mathews and Yang 2012). Beyond entertainment, music making among Nigerians, and Africans in China more generally, has a significant role in not only maintaining a sense of belonging but also in communicating key social concerns, aspirations and sentiments that stem from the experience of living and working in Guangzhou. This article describes how these experiences unfold in specific songs composed by two Igbo Nigerian immigrants whose aspirations and efforts to live and work in the city resulted in different outcomes.</p> 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## ECOMUSICOLOGY, INDIGENOUS KNOWLEDGE AND ENVIRONMENTAL DEGRADATION IN IBADAN, NIGERIA 2019-12-03T04:26:06+00:00 Olusegun Stephen Titus In Zimbabwe, urban musicians and educators often perceive karimba as a category of relatively small mbira that are used for secular entertainment. This notion is strongly influenced by the prominence of the Kwanongoma mbira, or nyunga nyunga mbira, a 15-key karimba that was first popularized by the Kwanongoma College of Music in the 1960s. Despite a wealth of research, very little has been written about karimba traditions around the Zimbabwe-Mozambique border that are associated with traditional religious practices. In this article, the author focuses on a type of karimba with more than 20 keys that shares much of the same repertoire with matepe/madhebhe/hera music in Rushinga, Mutoko, and Mudzi Districts in Zimbabwe and nearby regions in Central Mozambique. The author explores the connections between innovations of the Kwanongoma mbira and karimba traditions in the Northeast with examples from the International Library of African Music archival collections and her own ethnographic research. This article provides a foundation upon which others may further conduct research on karimba music and suggests possible directions for incorporating these findings into educational contexts.</p> 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## STORYTELLING SONGS OF THE ÈWÈ-DÒMÈ OF GHANA 2019-12-03T04:26:06+00:00 Divine Kwasi Gbagbo D. Rose Elder For the Central Èwè or Èwè-Dòmè people of Ghana’s Volta Region, storytelling is a vital practice used to transmit key lessons. For centuries the Èwè- Dòmè employed storytelling performances in initiation rites, war celebrations, wake-keeping, and praise singing to enrich the gathering by relaying important information, building group identity, and binding the community together with story, song, and dance. Storytellers and community participants point to the role that songs play within storytelling as cultural markers for the Èwè-Dòmè communities in the area around Ho, the Volta Region’s capital. Within the framework of extended family or town-wide storytelling performances, audience members habitually interrupt the story with song and dance that enlivens sleepy listeners and augments the story with an interpretive angle on the theme. Singing reverses the artist-audience roles. Other community events similarly provide an opportunity for artist-audience interaction and the reversal of roles. This paper documents the social role of songs in the context of storytelling as well as the performance practices, texts, melodies, rhythms, and harmonies of this important traditional musical genre in the face of numerous threats to its ongoing existence.</p> 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## “SINGING THE HEALING”: THE RITUALS OF THE TWELVE APOSTLES CHURCH IN GHANA 2019-12-03T04:26:06+00:00 Amos Darkwe Asare While many in Ghana prefer modern medical systems, others use indigenous means such as those emanating from shrines and indigenous sects. Today, many religious practices in Ghana focus a greater part of their services on healing and the general wellbeing of its members. The formation of African Indigenous Churches (AICs) has played a central role in bridging the gap between indigenous and Christian concepts of worship, healing, and wellbeing. The Twelve Apostles Church, first of the AICs in Ghana, is prominent as far as good health and the wellbeing of its members are concerned. These indigenous musical healing practices are seldom recognised for their significant contribution towards good health and wellbeing. In this article, I use an ethnographic approach, employing interviews and participant observation, to describe the significance of the musical healing rituals of the Twelve Apostles Church in Ghana. The question is, how does drumming, dancing, and singing in the Twelve Apostles Church contribute to good health and wellbeing?</p> 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## STILL RECORDING AFRICAN MUSIC IN THE FIELD 2019-12-03T04:26:06+00:00 Gerhard Roux Field 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.</p> 2018-11-22T00:00:00+00:00 ##submission.copyrightStatement## TWENTY-FIRST CENTURY SABAR DRUMS: INNOVATIONS IN ORGANOLOGY AND PERFORMANCE PRACTICES IN SENEGAL AND THE DIASPORA 2019-12-03T04:26:06+00:00 Patricia Tang This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.</p> 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Beverly B. Mack. Muslim Women Sing: Hausa Popular Song 2019-12-02T18:59:00+00:00 Obianuju Akunna Njoku 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Akuno, Emily Achieng’. Music Education in Africa: Concept, Process, and Practice 2019-12-02T18:59:00+00:00 Mandy Carver 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Mantombi Matotiyana: Songs of Greeting, Healing and Heritage 2019-12-02T18:59:00+00:00 Cara Stacey 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Msia Kibona Clark. Hip-Hop in Africa: Prophets of the City and Dustyfoot Philosophers 2019-12-02T18:59:00+00:00 Janne Rantala 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Luis Gimenez Amoros. Tracing the Mbira Sound Archive in Zimbabwe 2019-12-02T18:59:00+00:00 Diane Thram 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Contributors to this issue 2019-12-02T18:59:00+00:00 Lee Watkins 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Annual Subscription Rates of ILAM 2019-12-02T18:59:01+00:00 Lee Watkins 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement## Publications of ILAM 2019-12-02T18:59:01+00:00 Lee Watkins 2019-12-01T00:00:00+00:00 ##submission.copyrightStatement##