Azigbo
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128902 , vital:36189 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-03
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128902 , vital:36189 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-03
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Bidi Djehoua
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129014 , vital:36204 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-09
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129014 , vital:36204 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-09
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Zignon
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128917 , vital:36190 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-04
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128917 , vital:36190 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-04
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Ziguehi
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128897 , vital:36188 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-02
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128897 , vital:36188 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-02
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Koussougro-Sery
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129005 , vital:36202 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-08
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129005 , vital:36202 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-08
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Kpihi-Gou
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129021 , vital:36205 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-10
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/129021 , vital:36205 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-10
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Zougo
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128960 , vital:36197 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-05
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128960 , vital:36197 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-05
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Zahi
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128889 , vital:36187 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-01
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128889 , vital:36187 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-01
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Nouveau II
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128992 , vital:36201 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-07
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128992 , vital:36201 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-07
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Dissahouan
- Gnaore Djimi (vocals, creator), Gnaore Djimi The Best (album title), Showbiz
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128987 , vital:36200 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-06
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
- Authors: Gnaore Djimi (vocals, creator) , Gnaore Djimi The Best (album title) , Showbiz
- Date: 2000
- Subjects: Popular music , Popular music--Africa, West , Africa Cote d'Ivoire Abidjan f-iv
- Language: French
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/128987 , vital:36200 , International Library of African Music, Rhodes University, Grahamstown, South Africa , SDC17-06
- Description: Ivorian popular song in the Polihet style that is based on the traditional sounds, gestures and heritage of Niamboua people who live in the southwest reagion of Cote d'Ivoire. Polihet is performed at funerals, baptisms,weddings with the themes of love, hate, death and peace
- Full Text: false
- Date Issued: 2000
Effects of selected modes of digital distribution on music consumerism, with reference to the album format
- Authors: Du Preez, Liska
- Date: 2011
- Subjects: Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8504 , http://hdl.handle.net/10948/1427 , Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Description: In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.
- Full Text:
- Date Issued: 2011
- Authors: Du Preez, Liska
- Date: 2011
- Subjects: Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8504 , http://hdl.handle.net/10948/1427 , Sound -- Recording and reproducing -- Digital techniques , Music -- Technological innovations , Music and the Internet
- Description: In this digital age many listeners of music now purchase albums from online digital music stores instead of buying a physical album from the record store. This has created a concern with many regarding the future of the album as a physical medium. This study investigates the impact of the possible death of the album on certain listening habits, the activity of record collecting, the creation of large-scale musical works, music consumerism, and its implications for the creative process on music as art and sound-recording quality. Three realisations have led to the problem statement. Firstly, the album might not have a future in the digital age. Secondly, downloadable songs might not be able to recreate an album experience. The third realisation is that the possible death of the album could create new, exciting challenges to artists as they strive to create art. This study is exploratory in nature - and no hypothesis was generated. The research necessitates qualitative, exploratory, descriptive and contextual approaches. Furthermore, the investigation has led to the collection of mostly new data, constituting a “primary data design” through the implementation of qualitative listening experiments and a focus group, using full-time NMMU students between 18 and 25 years of age. It is herein argued that digital distribution might possibly have an effect on the perception of the album format and might possibly still be a relevant listening experience, valued by young people. Singles and albums are collectable; and good albums are considered artistic and comparable to the large-scale musical works of the past. If the concept of an album does not die out, then high fidelity formats should be able to re-invent the album experience. Listening experiences other than the album experience do exist, and they could generate new ways for artists to create musical art.
- Full Text:
- Date Issued: 2011
Transnational habitus : Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
Sitima senda namoto
- Josiasi Yemba Mate (Performer), Josiasi Yemba Mate (Composer)
- Authors: Josiasi Yemba Mate (Performer) , Josiasi Yemba Mate (Composer)
- Subjects: Topical song , Indigenous folk music , Kathandi mbira , Mongu , Barotseland , Northern Rhodesia (Zambia)
- Type: Sound , Music
- Identifier: vital:15392 , MOA28-16 , http://hdl.handle.net/10962/d1017698 , MOA28
- Description: English translation of title: 'The train goes with fire' , Topical song by Josiasi Yemba Mate, with Kathandi mbira (14 reeds, 2 manuals, fan-shaped with mirliton and held over a small resonator) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Josiasi Yemba Mate (Performer) , Josiasi Yemba Mate (Composer)
- Subjects: Topical song , Indigenous folk music , Kathandi mbira , Mongu , Barotseland , Northern Rhodesia (Zambia)
- Type: Sound , Music
- Identifier: vital:15392 , MOA28-16 , http://hdl.handle.net/10962/d1017698 , MOA28
- Description: English translation of title: 'The train goes with fire' , Topical song by Josiasi Yemba Mate, with Kathandi mbira (14 reeds, 2 manuals, fan-shaped with mirliton and held over a small resonator) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Dyibwe dyambule kabanda
- Kapungo Isidore and Beya Marcel (Performer), Composer not specified
- Authors: Kapungo Isidore and Beya Marcel (Performer) , Composer not specified
- Subjects: Indigenous folk music , Chisanzhi , Reeds , Box with sound-hole , Topical song , Kandakanda , Kasai , Belgian Congo (Democratic Republic of Congo)
- Type: Sound , Music
- Identifier: vital:15379 , MOA28-03 , http://hdl.handle.net/10962/d1017685 , MOA28
- Description: English translation of title: 'The ant carries a load' , Topical folk song by Kapungo Isidore and Beya Marcel, accompanied by chisanzhi (10 and 12 reeds, box with sound hole) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Kapungo Isidore and Beya Marcel (Performer) , Composer not specified
- Subjects: Indigenous folk music , Chisanzhi , Reeds , Box with sound-hole , Topical song , Kandakanda , Kasai , Belgian Congo (Democratic Republic of Congo)
- Type: Sound , Music
- Identifier: vital:15379 , MOA28-03 , http://hdl.handle.net/10962/d1017685 , MOA28
- Description: English translation of title: 'The ant carries a load' , Topical folk song by Kapungo Isidore and Beya Marcel, accompanied by chisanzhi (10 and 12 reeds, box with sound hole) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Mwadziitira
- Joseph Ngonyama Shumba (Performer), Composer not specified
- Authors: Joseph Ngonyama Shumba (Performer) , Composer not specified
- Subjects: Self delectative , Indigenous folk music , Mbira dza waNdau , Gogoyo , Sipungabera , Mozambique
- Type: Sound , Music
- Identifier: vital:15385 , MOA28-09 , http://hdl.handle.net/10962/d1017691 , MOA28
- Description: English translation of title: 'He did it himself' , Self delectative song by Joseph Ngonyama Shumba, accompanied by mbira dza waNdau (27 reeds, 3 manuals, bell-shaped body inside large resonator calabash) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Joseph Ngonyama Shumba (Performer) , Composer not specified
- Subjects: Self delectative , Indigenous folk music , Mbira dza waNdau , Gogoyo , Sipungabera , Mozambique
- Type: Sound , Music
- Identifier: vital:15385 , MOA28-09 , http://hdl.handle.net/10962/d1017691 , MOA28
- Description: English translation of title: 'He did it himself' , Self delectative song by Joseph Ngonyama Shumba, accompanied by mbira dza waNdau (27 reeds, 3 manuals, bell-shaped body inside large resonator calabash) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Meki, ye Meki woye!
- Simon Sitole (Performer), Composer not specified
- Authors: Simon Sitole (Performer) , Composer not specified
- Subjects: Topical song , Indigenous folk music , Mbira dza waNdau , Marange , Chipinge , Southern Rhodesia (Zimbabwe)
- Type: Sound , Music
- Identifier: vital:15384 , MOA28-08 , http://hdl.handle.net/10962/d1017690 , MOA28
- Description: English translation of title: 'Meki has lost something' , Topical folk song by Simon Sitole, accompanied by Mbira dza waNdau (28 reeds, 3 manuals, bell-shaped body inside large resonator calabash)) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Simon Sitole (Performer) , Composer not specified
- Subjects: Topical song , Indigenous folk music , Mbira dza waNdau , Marange , Chipinge , Southern Rhodesia (Zimbabwe)
- Type: Sound , Music
- Identifier: vital:15384 , MOA28-08 , http://hdl.handle.net/10962/d1017690 , MOA28
- Description: English translation of title: 'Meki has lost something' , Topical folk song by Simon Sitole, accompanied by Mbira dza waNdau (28 reeds, 3 manuals, bell-shaped body inside large resonator calabash)) , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Haopela pitsi
- Groups of Sotho men of Chief Moshoeshoe (Performer), Composer not specified
- Authors: Groups of Sotho men of Chief Moshoeshoe (Performer) , Composer not specified
- Subjects: Vocal , Work song , Indigenous folk music , Braying
- Type: Sound , Music
- Identifier: vital:15247 , MOA18-07 , http://hdl.handle.net/10962/d1017406 , MOA18
- Description: English translation of title: 'Comparing horses' colours' , An idigenous vocal song by Sotho men that is sung whilst braying , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Groups of Sotho men of Chief Moshoeshoe (Performer) , Composer not specified
- Subjects: Vocal , Work song , Indigenous folk music , Braying
- Type: Sound , Music
- Identifier: vital:15247 , MOA18-07 , http://hdl.handle.net/10962/d1017406 , MOA18
- Description: English translation of title: 'Comparing horses' colours' , An idigenous vocal song by Sotho men that is sung whilst braying , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s
- Authors: Drewett, Michael
- Date: 2004
- Subjects: Censorship -- South Africa Popular music -- Censorship -- South Africa Popular music -- Censorship -- South Africa -- History Popular music -- Social aspects -- South Africa Popular music -- Political aspects -- South Africa Popular music -- South Africa -- History and criticism Protest songs -- South Africa -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3350 , http://hdl.handle.net/10962/d1007098
- Description: The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
- Full Text:
- Date Issued: 2004
- Authors: Drewett, Michael
- Date: 2004
- Subjects: Censorship -- South Africa Popular music -- Censorship -- South Africa Popular music -- Censorship -- South Africa -- History Popular music -- Social aspects -- South Africa Popular music -- Political aspects -- South Africa Popular music -- South Africa -- History and criticism Protest songs -- South Africa -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3350 , http://hdl.handle.net/10962/d1007098
- Description: The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
- Full Text:
- Date Issued: 2004
Detyetye kusheka
- Tabarirevu Muyambo (Performer), Composer not specified
- Authors: Tabarirevu Muyambo (Performer) , Composer not specified
- Subjects: Song for a stomp , Indigenous folk music , Mbira dza waNdau , Chipinge , Southern Rhodesia (Zimbabwe)
- Type: Sound , Music
- Identifier: vital:15382 , MOA28-06 , http://hdl.handle.net/10962/d1017688 , MOA28
- Description: English translation of title: 'To laugh' , Song for a stomp by Tabarirevu Muyambo, accompanied by 3 mbira dza waNdau , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Tabarirevu Muyambo (Performer) , Composer not specified
- Subjects: Song for a stomp , Indigenous folk music , Mbira dza waNdau , Chipinge , Southern Rhodesia (Zimbabwe)
- Type: Sound , Music
- Identifier: vital:15382 , MOA28-06 , http://hdl.handle.net/10962/d1017688 , MOA28
- Description: English translation of title: 'To laugh' , Song for a stomp by Tabarirevu Muyambo, accompanied by 3 mbira dza waNdau , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Kyenda ali mugenyi
- Bachumirwa Tugwenderwa (Performer), Bachumirwa Tugwenderwa (Composer)
- Authors: Bachumirwa Tugwenderwa (Performer) , Bachumirwa Tugwenderwa (Composer)
- Subjects: Topical song , Indigenous folk music , Likembe mbira , Manual box resonated , Kigumba , Masindi , Uganda
- Type: Sound , Music
- Identifier: vital:15377 , MOA28-01 , http://hdl.handle.net/10962/d1017683 , MOA28
- Description: English translation of title: 'The careful father' , Topical folk song by Bachumirwa Tugwenderwa, accompanied by likembe mbira , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Bachumirwa Tugwenderwa (Performer) , Bachumirwa Tugwenderwa (Composer)
- Subjects: Topical song , Indigenous folk music , Likembe mbira , Manual box resonated , Kigumba , Masindi , Uganda
- Type: Sound , Music
- Identifier: vital:15377 , MOA28-01 , http://hdl.handle.net/10962/d1017683 , MOA28
- Description: English translation of title: 'The careful father' , Topical folk song by Bachumirwa Tugwenderwa, accompanied by likembe mbira , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false