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A powerful influence on African music
A powerful influence on African music
A powerful influence on African music
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African music is one that we all know to be upbeat and danceable. I chose to do my African musician research on Jules Shungu Wembadio Pene Kikumba, who is also known as Papa Wemba. I chose him because of the fact that he has recently passed, so me choosing him in a way gives him respect. Papa Wemba was an influential asset of his time due to the fact that he was one of the most prosperous African musicians in world music. He was a famous, sometimes infamous Congolese singer/musician who played illustrious forms of Congolese rumba, soukous and ndombolo forms of music. He was not only a musical icon, but Papa Wemba was very fashionable. Papa Wemba's road to stardom began when he joined the music group “Zaiko Langa Langa,” whose name means …show more content…
Papa Zemba’s plethora of achievements included his success as founders if the famous music groups Isifi Lokole and Yoka Lokole. He was also an influential asset to many other groups. During Wemba’s career, he spent a lot of time traveling to Paris, exploring the world around him and expanding his musical talent. At one point in his life, Papa Wemba was referred to as infamous rather than famous. Papa Wemba earned himself a jail sentence for his involvement in people smuggling. He smuggled people from his region of Congo into Europe. When he was released, he made it known that he was traveling a new, brighter route in his life. During a performance, Papa Memba sung to his death. He stated once, though, that he wanted to die performing. Reverting to his music’s style, Papa Memba created music that flowed smoothly through your ears and infused creative beams of music that keep you aware. He is different from other musicians in my opinion because you can actually sing along to his songs and enjoy it rather than be confused. After listening to Papa Wemba's music I've heard layered ostinatos with various repetition, improvisation, and distinctive pitch systems and scales. I also hear many instruments being played throughout the beats similar to those we discussed in lectures pertaining to
Some scholars theorize that the Middle Passage to the Americas was so traumatic that most African influence was eradicated, and that few traces of Africa exist in African-American music. This “cultural tabulala [sic] rasa” theory is rightfully rejected by many scholars (Wilson 3). The inflow of African people to the New World was brought on by the existence of slavery, and resulted in the creation of a sort of extension of the African continent in a different hemisphere. In his article “The Significance of the Relationship Between [sic] Afro-American Music and West African Music,” music scholar Olly Wilson refutes the tabula rasa theory, and provides extensive examples of the ties that continue to exist between the two distant geographical regions. Another prominent scholar who recognizes the integration of African elements in American musics is Henry Louis Gates, Jr. Though his much deeper and more analytical approach to African musics is divergent from Wilson’s, both scholars acknowledge African diaspora musics and examine them in different ways based on different criteria.
Gottschalk’s unique blend of exotic cultures was key to perpetual fame during his time. By examining the compositions Bamboula (Op. 2) and Souvenir de Porto Rico (Op. 31), I will demonstrate how Gottschalk’s musical style represents an integration of Creole, New Orleans, West Indian, and Afro-Caribbean backgrounds he was exposed to throughout his life.
Over the course of history, music has developed from a personal, academic pursuit to an extension of a global marketplace and an attribute of this global community. In order to better address this conversation and the surrounding idea, Feld utilizes the platform he has developed to pose the argument that music has long been cultivated as a means of communication and interaction. This relationship is developed and analyzed as a case study in this article, which happens to be in discussing a traditional lullaby first developed in the Solomon Islands, which was in turn recorded by a European pop group that sold millions of copies of a rendition of the song. Furthermore, the article goes to show the trend of music to be redistributed and developed in the sense that it is later reused by a popular jazz musician in Europe. Feld then begs the question about the nature of the redistribution of music and whether this facilitates a hybridization of music or an alienation and artistic degradation of the original work for the indigenous artists.
Throughout the semester, various styles of music and the aspects of culture associated with these styles have been analyzed. Musical elements such as dynamics, texture, form, timbre, melody, instruments, etc., have been used to thoroughly explore each kind of music from different areas of the world, with an emphasis in music from Africa, India and Indonesia. These aspects of music go far beyond just music itself. Culture also plays a huge role in music and the accompanying musical elements. Each country and culture has a different style and distinctiveness that add to what makes the music of that certain culture unique. Music in Africa may differ dramatically from music in Indonesia or India not only due to those certain elements but also due to how it is interpreted by people and what it represents for those people. In addition to this, what one may consider music in one culture may not be music to another. These differences have been made apparent in the several demonstrations that we have been exposed to in class.
Angeles, Los. (2009). African arts. Volume 28. Published by African Studies Center, University of California.
World music may sound as simple as its name suggests, however the world music phenomenon expresses a deeper story that many people seem to miss. There is so much that makes up a world music genre, but what we hear about it is not always the easiest to decipher and generally comes from powerful and large organisations, where not all of it is explained thoroughly. A lot of their understanding comes from what they are only interested in and most important stories and factors are either ignored or incomplete (Stokes 2003, p. 297). Not receiving the full picture, gives us a limited understanding of world music and its sub genres. Different genres of music over the globe have been shaped in many ways by influences such as the; historical and traditional root, people and their culture, migration, globalisation, politics and commodification. Nueva Canción is one example of a world music genre that has been influenced in such ways, and of which has a strong historical and political story worthy to be recognised. This essay will focus on the way the genre, Nueva Canción has become a significant genre of world music, by exploring the influences stated previously.
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
Monson, I. (2010).Freedom sounds : civil rights call out to jazz and Africa. New York Oxford: Oxford University Press.
Music played a very important role in the lives of people is diaspora communities. It served as a reminder for the immigrants of their homeland, which allowed them to proudly express their national and cultural identities. Diaspora refers to an international network of communities linked together by the identification of a common ancestral homeland and culture. People in these communities are no longer living in their homelands, with no guarantee of a return either. (Bakan, 19). Music played a large role in African diaspora communities. This was first started by the slave trades many years ago when slave traders traveled to the coast of West Africa to capture Africans and brought them back to the United States to be slaves on plantations. Slaves were more prone to loose a sense of their own culture because every new aspect of their lives was forced upon them, therefore they were undoubtedly forced to abandon their n...
Small, Christopher. Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, NH: U of New England, 1998. Print
Every West African village had its own professional musicians and singers who would perform for the community. Musicians were idolized in their villages. They normally sat with the king or chief because of their elevated status.
The Latin American music scene is an amazingly diverse, engaging and entertaining music culture. Thomas (2011) explains, “…Latin American music has engaged in ongoing dialogue and cultural exchange that has profoundly affected music making in Europe and the United States and, more recently, in Africa and Asia as well”. This paper will be describing different aspects of the music culture from its musical features, to the historical aspect of this interesting music culture. Also, I will discuss a personal experience with Latin American music. After researching the music culture, I attended a concert performed by Boogat, an Emmy award nominated Latin American musician from Quebec who has toured all over North America. Latin American music culture
Musicians across the world hope to be heard and find an audience. Rarely do they escape the confines of the music business to become cultural icons. Even more rarely do they become pioneers of a musical genre, outspoken human rights activists, and political provocateurs. Nigerian musician Fela Kuti became the embodiment of all of these things, and his life has left a lasting legacy across social consciousness and pop culture. Whether loathed or loved, Fela Kuti’s life and work represent a passionate and complicated man who was willing to carve his own path.
I have decided to do my Music Media Mogul report on Ayodeji “ Wizkid” Balogun because I find him to be one of the top international musicians of our time coming from Nigeria as well as from Africa. He is one of the top media influencers in Nigeria. I am a major fan of Wizkid and I believe this research project will give me a better insight of the come-up of Wizkid and how he is such a popular worldwide international act with breaking into the US Hip-hop and R&B industry collaborating with musicians such as Drake, Chris Brown etc. As of recent he has also broken into the fashion Industry walking and modelling for Dolce and Gabbana and Nike, while also being a spoke person and ambassador for major African companies which will be talked about in this project. In this project I will giving you a detailed background of Wizkid’s history,
Music has played a role in society since the dawn of man. Said to be the beginning of communication in early civilization, music and dance have influenced how we think, act and treat members of our own society. Song and dance is used in rites of passage ceremonies such as births, weddings and funerals throughout the world. Jamaican and Yoruba cultures have made many contributions to our society. The uses of this music as a vehicle for political issues, values, and beliefs have been used by many musicians from different cultures. I intend to discuss the Contribution of these two contemporary cultures music and their effect on society.