Indigenous African Popular Music, Volume 1: Prophets and Philosophers (Pop Music, Culture and Identity)

✍ Scribed by Abiodun Salawu (editor), Israel A. Fadipe (editor)

• Publisher: Palgrave Macmillan
• Year: 2022
• Tongue: English
• Leaves: 411
• Category: Library

✦ Synopsis

This volume explores the nature, philosophies and genres of indigenous African popular music, focusing on how indigenous African popular music artistes are seen as prophets and philosophers, and how indigenous African popular music depicts the world. Indigenous African popular music has long been under-appreciated in communication scholarship. However, understanding the nature and philosophies of indigenous African popular music reveals an untapped diversity which only be unraveled by knowledge of the myriad cultural backgrounds from which its genres originate. Indigenous African popular musicians have become repositories of indigenous cultural traditions and cosmologies.With a particular focus on scholarship from Nigeria, Zimbabwe and South Africa, this volume explores the work of these pioneering artists and their protégés who are resiliently sustaining, recreating and popularising indigenous popular music in their respective African communities, and at the same time propagatingthe communal views about African philosophies and the temporal and spiritual worlds in which they exist.

​

✦ Table of Contents

Acknowledgements
Contents
Notes on Contributors
List of Figures
List of Tables
Chapter 1: Introduction: Indigenous African Popular Music
Volume I: Prophets and Philosophers
Nature, Philosophies and Genres of Indigenous African Popular Music
African Music Prophets and Philosophers
Indigenous African Popular Music and the World
Volume 2: Social Crusade and the Future
Indigenous African Popular Music and Social Crusades
Indigenous African Popular Music and Environmental Health Communication
Indigenous African Popular Music and Gender Empowerment
Indigenous African Popular Music, African Youths and African Future
Indigenous African Popular Music, Advanced Broadcast Technologies and the Digital Media
Conclusion
References
Part I: The Nature, Philosophies and Genres of Indigenous African Popular Music
Chapter 2: Indigenous and Modern Zimbabwean Music: Reflections from Thomas Mapfumo’s Chimurenga Music Genre
Introduction and Background
Other Chimurenga Musicians
Chimurenga Music and Censorship
Chimurenga Music to the World
References
Internet Sources
Chapter 3: Rhythmic Signifying in Popular Venda Music
Documented History About Venda Music
The Development of South African Popular Music
Rhythmic Analysis from Popular Venda Music
Conclusion
References
Chapter 4: Baansi ni Yila: A Critical History of the Music Industry in Northern Ghana
Introduction
The History of Global Music
Globalizing African Music
Music in Ghana
Northern Ghanaian Music
Theoretical Framework
Methodological Framework
Research Questions
Findings
Music for Social Change
The Making of Musical Griots
Cultural Influences on Northern Ghanaian Music
Conclusion
References
Chapter 5: Indigenous and Indigenised Yoruba Popular Music
Introduction
The Yoruba People of Nigeria
Colonisation, Globalisation and Cultural Imperialism
Influence of Christianity and Islam
Yoruba Indigenous Popular Music
Yoruba Indigenised Popular Music
Conclusion and Recommendations
References
Chapter 6: Social Cognition and Advertisement in Yusuf Olatunji’s Music
Introduction
Yusuf Olatunji and Sakara
Theoretical Framework
Methodology
Analysis
Advertisement of Consumable Products
Advertisement of Non-consumable Products
Advertisement of Services
Conclusion
References
Discography
Chapter 7: Exploring the Value Systems Embedded in Indigenous Yorùbá Music Genres and Yorùbá Nursery Rhymes
Introduction
The Yorùbá People
Music Among the Yorùbá People: Use and Performance
Yorùbá Music: Values and Socialisation
Method
Song Analysis: Musical Historicity Versus Value Content
Conclusion
References
Chapter 8: Cultural Frames: Sociocultural Metaphors in Owerri-Igbo Bongo Music
Introduction
Bongo Music: An Aspect of Igbo Culture
Framing Theory
Deliberate Metaphor Theory
Methodology
Data Presentation and Analysis
Morality and Social Justice
Peaceful Coexistence with Nature and the Gods
Communal Lifestyle
Contentment and Comportment
Integrity and Transparent Honesty
Deliberate Metaphors in the Tracks
Conclusion
References
Discography
Chapter 9: Thematic Deconstructions of Urhobo/Isoko Musicology and Brand Identity Negotiation, Normalization and Contradictions: Discourse Narrative
Introduction
Connecting to Theories
Music and Musicology Are Ideological Thrusts
Urhobo/Isoko: Historic, Brands and Influencers
Identified Themes and Normalization from Negotiated Identity
Concluding Remarks
References
Chapter 10: Dung Chollom and Berom Ethnic Popular Music
Introduction
Background to Ethnic Popular Music
The Berom of Jos-Plateau in Nigeria
Profile of Dung Chollom
The Musical Organization
Performance Context
Annual Festivals
Music for Politics
Discussions of Some of His Songs
Lele Nong Feng NPP
Conclusion
References
Part II: Indigenous African Popular Music Artists as Prophets and Philosophers
Chapter 11: Corpus of Prophecy, Philosophy and Crusading in Ayinla Omowura’s Music
Introduction
Omowura: Philosophy, Crusading and Advocacy
Conclusion
References
Chapter 12: Forewarned Is Forearmed: Exploring the Apocalyptic Voice of Popular Music in the Post-colonial Zimbabwe
Introduction
The Role of Music in Society
Musical Stage(s) as Dariro (African Traditional Public Sphere)
Photographic Representation: A Theoretical Trajectory
Methodological Approach
Discussion
Sawara and Zimbabwe’s Failed Nationalism
Sawara as an Epitome of Former Colonial Master
The Revelations
Conclusion
Sawara the Living Word: Apocalypse Beyond Mugabe Era
References
Chapter 13: Reeling Nostalgia: ‘Aremote’ and the Enduring Sakara Music in Nigeria
Introduction
Methodology
Nostalgia
Music in Nigeria
The Islamised Music
The Sakara Music
Yusuf Olatunji (1909–1978)
The Broadcast Music
The ‘Aremote’ Programmes
Data Presentation
Data Analysis and Discussion
Conclusion
References
Internet Sources
Chapter 14: Celebration as Choice in Nigerian Indigenous and Modern Music: A Critical Analysis of Osondi Owendi by Osita Osadebe and Chinedu Okoli (Flavour)
Introduction
The Concept of Celebration in Africa: Music as an Ornament
The Influence of Indigenous African Music on the African Modern Music: The Case of Highlife
The Theory of Selective Remix
Methodology
An Explication of Osondi Owendi by Osita Osadebe and Flavour Feat MC Loph
The Value of Choice
Conclusion
References
Chapter 15: Yorùbá Socio-Cultural Norms and Values in Selected Songs of Bùkọ́lá Ẹlémìdé (Áṣà)
Introduction
Brief Biography of Bùkọ́lá Ẹlémìdé (Áṣà)
Yorùbá Socio-Cultural Norms and Values
Music as a Form of Communication, Development and Social Reengineering
Method
Synopsis of the Selected Songs
Socio-Cultural Norms and Values in Áṣà’s Music
Áṣà’s Message on Justice and Fairness
Áṣà’s Message on Sexual Chastity
Áṣà’s Message on Greed, Materialism and Good Leadership
Áṣà’s Message on Honesty and Loyalty
Conclusion and Recommendations
References
Chapter 16: Rethinking Values and Principles: An Examination of Osita Osadebe Songs in Igbo Cultural Value Preservation
Introduction
The History of Nd’igbos
The Igbo Cultural Values
Igbo Indigenous Music
Theoretical Framework
Methodology
Analysis and Discussion
The Igbo Highlife: Osita Stephen Osadebe
Value Analysis, Generation and Regeneration
Regenerating Hard Work: An Igbo Cultural Value
On Chukwu (God) and Contentment: The Igbo Values
Conclusion and Recommendations: Value Regeneration
Appendix
References
Part III: Indigenous African Popular Music and the World
Chapter 17: Valódia: A Transatlantic Praise Song
Santocas’ Golden Age
Historic Relevance
Selected African Songs of Praise
Angolan Songs of Praise
Civil Song of Praise
Defining Parameters
Political Impact of Valódia’s Alienation
Dramatic Deconstruction of Valódia
Tragic Hero
Dramatist Perspective
Linguistic Bonds
Cultural Competence
Intercultural Communication
Cultural Moment
Memorial Production
Semiotic Impact
Conclusion
References
Chapter 18: The Adaptation of Zimbabwean Mbira Dzavadzimu Music, from Traditional to Modern Popular Band Format; the Case of Thomas Mapfumo
Introduction
Towards the Adaptation of Mbira Dzavadzimu Music, a Historical Perspective
Methodology
Thomas Mapfumo’s Adaptations: From Traditional Mbira Dzavadzimu to Popular Music
Use of Surrogation in Adapting Mbira Dzavadzimu Music to Popular Music
Opening Melody for Song Identification Played by the Lead Guitar
Kutsinhira Instruments Entering in Bar 8
Repeat Signs Indicating the Cyclic Nature of the Music
Conclusion
References
Chapter 19: Macheso’s Sungura and Social Identity Narratives in Postcolonial Zimbabwe
Introduction
Macheso’s Early Years
Malawian Chewa and African Heritage in Macheso’s Sungura
Conclusion
References
Chapter 20: “One Beat, One Pound”: Kasumu Isola Sanni—The Sákárà Master Drummer
Introduction
What Is the Sákárà Drum?
The Man Kasumu Isola Sanni
KIS the Ọ̀gá Onílù: Analysis of Selected Drumbeats
From a Drummer to a Musician
Conclusion
References
Chapter 21: When Culture and Tradition Aren’t Archaic: The Song Semantics of Zimbabwean Mbira’s International Appeal
Introduction
Background and Rationale of the Study
Review
Traditional and Cultural Semantics of Mbira Music
Is Mbira Music Archaic?
The International Appeal and Semantics of Mbira Music
The Peculiarities and Semantics of Stella Chiweshe’s Mbira Music
The Future of Mbira Music
Theoretical Framework
Data and Method
Findings and Discussion
The Gist of Mbira Music
Mbira Music: Antiquated or Fashionable?
The World-wide Charm of Mbira Music
Stella Chiweshe’s Mbira Idiosyncrasies and Insinuations
The Prospect of Mbira Music: Bright or Bleak?
Conclusions
References
Correction to: Social Cognition and Advertisement in Yusuf Olatunji’s Music
Index