Agawu, [Victor] Kofi: Presenting African Music. Postcolonial Notes, Queries, Positions. New York, N.Y.: Routledge, 2003. 266 p. ISBN 0-415–94389-2 (paper) 0-415–94390-6 (bound)

CONTENTS

Acknowledgments ix
Introduction xi

1. Colonialism’s Impact 1
2. The Archive 23
3. The Invention of “African Rhythm” 55
4. Polymeter, Additive Rhythm, and Other Enduring Myths 71
5. African Music as Text 97
6. Popular Music Defended against Its Devotees 117
7. Contesting Difference 151
8. How Not to Analyze African Music 173
9. The Ethics of Representation 199

Epilogue 221
Notes 225
References 241
Index 261

Agawu, V[ictor] Kofi: The African Imagination in Music. New York, N.Y.: Oxford University Press, 2016. 388 p. ISBN 978-0-19-026321-8 (pbk) 978-0-19-026320-1 (cloth)

CONTENTS

Acknowledgments ix
About the Companion Website xi

Introduction 1
1. Music and/in Society 27
2. Musical Instruments 65
3. Language and/in Music 113
4. The Rhythmic Imagination 155
5. The Melodic Imagination 195
6. The Formal Imagination 240
7. Harmony, or Simultaneous Doing 267
8. Appropriating African Music 305

Discography 335
Videography 343
Bibliography 345
Index 365

Charters, Samuel: The Roots of the Blues. An African Search. London: Quartet Books, 1981. 151 p. ISBN 0-7043-3416-X

CONTENTS

  1. To The Gambia 1
  2. A Mandingo jali 10
  3. ‘I Can Tell You the History of Everything’ 23
  4. A River Place 34
  5. Toolongjong 47
  6. Some Young Griots 53
  7. Drums in the Streets 66
  8. A Meeting with Slavery 78
  9. ‘The Province of Freedom’ 96
10. A Creole Village 110
11. The African Blues Roots 119
12. A Sense of Something Older 127
13. The Bamako-Dakar International Express 137
14. A Bridge over the Niger 146

With photographs by the author

Chernoff, John Miller: African Rhythm and African Sensibility. Aesthetics and Social Action in African Musical Idioms. Chicago, Ill.: Chicago University Press, 1979. 261 p. & 1 cassette ISBN 0-226-10344-7 (cloth) 0-226-10345-5 (paper)

CONTENTS

List of Plates viii
Acknowledgments ix
Pronunciation and Transliteration xv

Introduction
Scholarship and Participation 1
One
The Study of Music in Africa 27
Two
Music in Africa 39
Three
Style in Africa 91
Four
Values in Africa 153

Appendix 173
Notes 183
Bibliography 223
Index 249

Collins, [Edmund] John: African Musical Symbolism in Contemporary Perspektive. Roots, Rhythms and Relativity. Berlin: Pro Business, 2004. 397 p. ISBN 3-938262-15-X

CONTENTS

List of figures and tables 9
Forward 13
Introduction 17

Section One
ANCIENT AFRICAN WISDOM 25

Chapter One
African Music as Microcosm 25
Theme One: Polarised Tension -The On and Offbeat 25
Theme Two: Relativity – Multiple Cross-Rhythms 28
     Ewe Children’s Song 29
     The Akan Children’s Akoko Funu Rhythmic Game 30
     The Ye-Ye Clapping Game of Ewe 30
     The Akan Ampe Rhythmic Elimination Game 31
     The Adowa Drum-Dance of the Ashanti 32
     The Agbadza Social Dance of the Ewe 34
Theme Three: Hidden Space – Syncopation and Swing 40
     Rhythmic Syncopation 41
     The Rhythmic Flexibility of “Swing” 45
     Three Examples of the Spacey African Rhythms 49
           Rhythmic Muting: The Adowa Dance 49
           Rhythmic Editing: The Ye-Ye Children’s Game, 
          Gahu and Highlife 50
           Rhythmic Breaks and Freezes in African and 
          Black Diaspora Dance 52
Theme Four: Holism -The Collective Beat 53
     The Interference of Cross-Rhythms 53
Theme Five: Circularity- Rhythmic Reincarnation 57
     Five Features of the Cyclical African Beat 60
     Staggered Rhythms 60
     The Juxtaposition of Beginning and End 61
     Critical Junctures 64
     The Square Dance Within the Circle 65
     Circles of Sound and Silence 65
Theme Six: A Driving Touch of Asymmetry –
                     The Propulsive Bell 70
Theme Seven: Mature Poise – Master-musician and
     Centred Dancer 72
     The Balance of the Hot and Cool 75
Theme Eight: Freedom and Necessity – The Art of Improvisation 78
Theme Nine: The Participatory Mode – Audience Involvement 82

Chapter Two
The Traditional African Macrocosm and Worldview 85
Introductory History of Africa 85
The African Macrocosm 94
Theme One: Polarised Tension – Divine Twins and Sexual
     Metaphors 94
     The Twinning of Spiritual On and Offbeats 94
     Sexual Polarity in Africa 96
     Conclusion 104
Theme Two: Relativity – Polytheism, Polycalenders and
     Multiple Souls 105
     Polytheism 105
     Multiple Souls 108
     Polycyclic Calendars 110
     Polysided Life 111
     Conclusion 112
Theme Three: Hidden Space – Cosmic and Ritual Swing 113
     Africa’s Laid-Back Creator 115
     Africa’s Offbeat Trickster Deity 119
     Ritual Intervals in Africa 120
     Conclusion 122
Theme Four: Holism -The Animating Universal Spirit and
     Eternal Now 124
     The Universal Spirit 124
     The Eternal Now and Accumulated and Spatial Time 126
     Conclusion 128
Theme Five: Circularity – The Eternal Return, Life Cycles, 
     Serpents and African Mandalas 129
     The African Life Cycle and Seasonal Rounds 129
     Ancient Spirals and sacred circles 133
     Serpents and other African Mandalas 137
     Conclusion 142
Theme Six: A Driving Touch of Asymmetry –
     Tricksters and Ritual Clowns 143
     Conclusion 144
Theme Seven: Mature Poise – Elders and the Balance of
     the Hot and Cool 145
     The Equilibrium of the Elder 145
     The Hot and the Cool of the Old Religions 147
     Conclusion 151
Theme Eight: Freewill and Determinism 153
     The African Socio-Political Realm: Checks, Balances
      and Polycentrism 155
      African Creativity in the Modern World 158
Theme Nine: The Participatory Mode – The Sacred Community 160

Section Two
THE SPACE AND INFORMATION AGE 166

Chapter Three
Modern Babylon: The Emergence of Industrial Babylon and
its Mechanistic Vision 166
Reactions against the Mechanistic Vision 175

Thematic Chapter One
Polarised Tension 184
Brain Lateralisation and Twin Psychosocial Archetypes 185
Structuralism and the Polarity of Language and Mind 187
Atomic Opposites and Wave Interference 189
Conclusion 195

Thematic Chapter Two
Relativism 197
Albert Einstein 198
Psychological Complexes and Multiple Archetypes 203
Parallel Processes and Cybernetic Counterpoint 207
Helmholtz’s Sound Spectrum 209
Conclusion 212

Thematic Chapter Three
Hidden Space 215
The Modern Rediscovery of the Inner Realm:
The Physiological Unconscious and Existential Emptiness 216
Mathematical Space – Zeros, Limits and Incompleteness 219
The Pythagorean Comma: Mathematico-Musical
Incompleteness 222
Cybernetic Silence and Computer Swing 227
Atomic Gaps 229
Cosmic Black Holes 234
Conclusion 240
     Syncopated Structural Space 241
     Swinging Space 242

Thematic Chapter Four
Holism 245
Gestalt Psychology 245
The Balance of the Left and Right Brain 247
Table: The complimentary partnership between the
left and right brain modes of thinking 248
Jungian Archetypes and the Collective Unconscious 251
Atomic Complementarity 257
Einstein’s Space-Time Continuum and the Interconvertability of
Energy and Matter 258
Universal Interconnectedness and Bell’s Theorem 259
Universal Interconnectedness and the Laser Hologram 260
Conclusion 262

Thematic Chapter Five
Circularity 265
Einstein’s Curved Continuum 266
A Reincarnating Universe 266
Jungian Mandalas and the Cycle of the Self 268
Cybernetic Unity and Information Feedback Loops 274
Conclusion 278

Thematic Chapter Six
A Driving Touch of Asymmetry 281
Musical Time: The Western Scale and Trickster Triad 282
Two Physical Arrows of Time: Metastable Hydrogen and
Atomic Handedness 285
A Third Physical Arrow of Time: Entropy 286
Conclusion 288

Thematic Chapter Seven
Mature Poise 290
Psychological Stages Towards a Balanced Personality 292
Depth Psychology and the Healing Unconscious 294
The Mind/Body Split: The Human Potential Movement and
Performance Therapy 297
Getting to Roots: Linking the Past with the Present 298
Super Strings: Uniting Hot Flux and Cool Geometries 301
Conclusion 305

Thematic Chapter Eight
Freewill and Determinism 310
Existential Freedom and Fulfilment Psychology 312
Permutational Choice: Bi-Associationism and Lateral Thinking 313
Obstructionist, Deconstructionism and Poetic Difference 315
Creative Chaos 316
Quantum Consciousness 319
Conclusion 320

Thematic Chapter Nine
The Participatory Mode 323
Participation: Social and Psychological 324
The Ecosystem and Co-evolution 327
The Observer Effect in the Atomic Dance 329
Conclusion 332

CODA 335

Bibliography 344
The Music of Africans and African Americans (relevant particularly
to Chapter 1) 344
The History, Social Systems, Religions and Aesthetics of African
and Ancient/Pre-lndustrial Societies (relevant particularly to
Chapter 2) 348
Modern Social and Environmental Sciences, Mathematics,
Cybernetics and Philosophy 355
Modern Researchers into Physics, Astronomy, Holograms,
Super Strings and Chaos Theory 360

Person Index 363
Subject Index 370
Acknowledgements 393

Fuhr, Jenny: Experiencing Rhythm : Contemporary Malagasy Music and Identity. Ph.D. University of Southampton, 2010. xv & 246 p.

CONTENTS

List of illustrations ix
List of accompanying material xi
Author’s declaration xiii
Acknowledgements xv

Section 1
Introduction 1

Section 2

Chapter 2.1 
Theorising ‘rhythm’
Introduction 11
Literature review 12
“Contemporary Malagasy music” (Randrianary 2001) and
the lova-tsofina 17
The ‘6/8 rhythm’ and the role of rhythm in the musicians’
search for identity 19
Introduction: the concept of ‘rhythm’ 21
The concepts of ‘metre’ and ‘measure’ – different interpretations
and understandings 22
Rhythm in African music and the invention of new terms 26
Example: Discourse on rhythm in Cuban music 33
Rhythm in culture and language 34
Malagasy rhythm(s) 41

Chapter 2.2
Methodological reflections: integrating musical experiences into ethnomusicological research
Introduction 47
Key terms: Experiences and Self-Other dichotomy 49
Theorising Fieldwork
    Historical reflections 50
    The idea of ‘Self’ and ‘Other’ within fieldwork 53
    Experiences: ‘narrativisation of experiences’ and
    “musical being-in-the-world” (Titon 1997) 54
    ‘New fieldwork’ in ethnomusicology 56
The importance of integrating both, the analysis of discourses
and musical practices 58
“Towards a (more) performative ethnomusicology” (Baily 2008) 58
Why there is a need to participate musically 59
Understanding musically 62
“Presumption of Sameness” (Agawu 2003) and “Subject-Centred Ethnography” (Rice 2003) 67

Chapter 2.3
Fieldwork experiences
Introduction 73
Development of my research 73
The role of Antananarivo 76
Some reflections on my fieldwork in Antananarivo 78
Development of my musical practices 82
The interrelation of analyses of discourses and musical
experiences – Outlook: Section 3 87

Section 3
Introduction section 3 – Analyses 89

Chapter 3.1
Contesting the ‘6/8 rhythm’
Introduction 91
Speech about music / Language and identity 92
The presence of the term ‘6/8 rhythm’ in the musicians’
discourses 96
The ‘6/8 rhythm’ as used in Western musicology 96
‘6/8 rhythm’ meets lova-tsofina 99
The importance of the research context 99
The term ‘6/8 rhythm’ in the Malagasy context 101
    The musicians’ usage of the term ‘6/8 rhythm’:
    identification or taking distance? 101
    Terminological confusion 108
    Example salegy 108
The challenge of the international ‘world music market’ – musicians’ individual experiences: perspectives and strategies 113
Conclusion 119

Chapter 3.2
Exploring the lova-tsofina: Musician’s theories on the origin and meaning of ‘rhythm’ in Malagasy music
Introduction 121
The importance of listening to the musicians’ own concepts 122
The topoi 122
    Environment 124
    Everyday life 131
    Language 138
    Dance 143
    Influences from outside 146
    Emotions and spiritual ideas 148
Conclusion155

Chapter 3.3
Experiencing Rhythm
Introduction 157
The musical experience of ‘rhythm’ 158
    Composing and ‘malagasising’ tunes 161
    Tapping feet, counting, and clapping 166
    Intercultural musical encounters – examples of musicians’ experiences 169
Participating musically myself 173
The interrelation of discourses and musical experiences 174
Examples:
    The importance of the lova-tsofina 175
     ‘6/8 rhythm’ and the opportunity of binaries and ternaries 176
    Engaging in ‘malagasising’ music 179
    The importance of language and lyrics 182
    The importance of the instrument and its playing technique 184
    The emphasis on personality/individuality in Malagasy music 189
Outlook / further research possibilities 194
Conclusion 198

Section 4
Conclusion 201

Appendices
Appendix I
English translations of interview quotes (section 3) 209
Appendix II
List of all interviews conducted 227

Bibliography 231

Fuhr, Jenny: Experiencing Rhythm : Contemporary Malagasy Music and Identity. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013. ix & 195 p. ISBN 978-1-4438-5057-6

CONTENTS

List of Illustrations viii
Acknowledgements ix

Chapter One
Music in Contemporary Madagascar 1
Introduction
“Contemporary Malagasy Music” (Randrianary 2001):
   “6/8 rhythm” meets Lova-tsolina
Fieldwork Experiences
Outline

Chapter Two 
Theorising “Rhythm” 23
Introduction
What is “Rhythm”?
The Concepts of “Metre” and “Measure” – Different
   Interpretations and Understandings
Rhythm in African Music and the Invention of New Terms
Rhythm in Culture and Language
Malagasy Rhythin(s)

Chapter Three 
Musicking Researchers and Researching Musicians 47
Introduction
Key Terms
The Idea of “Sell’ and “Other” within Ethnographic Fieldwork
The Notion of “Experience”: “Narrativisation of Experiences”
   and “Musical being-in-the-world” (Titon 1997)
The Importance of Integrating the Analysis of Discourses
   and Musical Practices
“Towards a (more) Performative Ethnomusicology” (Baily 2008)
Understanding Musically
“Presumption of Sameness” (Agawu 2003) and
   “Subject-centred Ethnography” (Rice 2003)

Chapter Four 
Contesting the “6/8 Rhythm” 70
Introduction
The Importance of the Research Context
The ”6/8 rhythm” as used in Western Musicology
The Musicians’ Usage of the Term: Identification or
   Taking Distance? Terminological Confusion
Example Salegy
The Challenge of the International “World Music Market” and
   Musicians’ Individual Experiences: Perspectives and Strategies
Conclusion

Chapter Five
Exploring the Lora-tsofina: Musicians’ Theories on the Origin and Meaning of “Rhythm” in Malagasy Music 99
Introduction
The Importance of Listening to the Musicians’
   Own Concepts
The Topoi
Environment
Everyday Life
Language
Dance
Influences From Outside
Emotions and Spiritual Ideas
Conclusion

Chapter Six
Experiencing “Rhythm” 143
Introduction
Composing and “Malagasising” Tunes
Tapping Feet, Counting, and Clapping
Intercultural Musical Encounters-Examples of
   Musicians’ Experiences
Participating Musically Myself
Examples
The Importance of Lova-tsofina
“6/8 rhythm” and the Opportunity of Binaries
   and Ternaries
Engaging in “Malagasising” Music
The importance of Language and Lyrics
The Importance of the Instrument and its
   Playing Technique
The Emphasis on Personality and Individuality
   in Malagasy Music
Conclusion

Chapter Seven
Conclusion 178

Bibliography 181
Index 194

Kubik, Gerhard: Africa and the Blues. Jackson, Miss.: University Press of Mississippi, 1999. 240 p. ISBN 1-57806-146-6

CONTENTS

List of Examples     vii
List of Figures     ix
List of Photographs    xi
Preface    xiii

Part I. Out of Africa
Introduction 3
  1. Sources, Adaptation and Innovation 5
  2. The Rise of a Sung Literary Genre 21
  3. A Strange Absence 51
  4. The West Central Sudanic Belt 63
  5. Blues Recordings Compared with Material from the
      Central Sudanic Savannah 71
  6. Some Characteristics of the Blues 82
  7. Why Did a West Central Sudanic Style Cluster
      Prevail in the Blues? 96
  8. Heterophonic versus Homophonic Multi-Part
      Schemes 105
  9. The Blues Tonal System 118
10. The “Flatted Fifth” 146

Part II. Return to Africa
Introduction 155
11. The i2-Bar Blues Form in South African kwela and
       it’s Reinterpretation 161
12. Return to the Western Sudan 186

Summary and Conclusions 197
Bibliography 205
Index 225

Kubik, Gerhard: Theory of African Music. Vol. 1. Chicago, Ill.: University of Chicago Press, 2010. 464 p. & CD ISBN 978-0-226-45690-4 (cloth) 978-0-226-45691-1 (paper)

CONTENTS

Preface to Volumes I and II 6

Introduction 9

I.
Xylophone Playing in Southern Uganda 47
II.
Harp Music of the Azande and Related Peoples in the Central
African Republic 87
III.
A Structural Examination of Multi-Part Singing in East, Central and Southern Africa 769
Section 1: Homophonic Multi-Part Singing in Bantu Musical Cultures
                  of East and Central Africa 171
Section 2: Nsenga/Shona Harmonic Patterns and the San Heritage
                  in Southern Africa 270
IV.
Composition Techniques in Kiganda Xylophone Music.
With an Introduction into Some Kiganda Musical Concepts 249
Section 1: The Amadinda 264
Section 2: The Akadinda 290
Section 3: Are Amadinda and Akadinda Pieces Structurally
                  Related? 306
Transcriptions 308
V.
Concepts About Movement and Sound in the Eastern Angolan Culture Area 329
Section 1: Musical Enculturation 330
Section 2: Patterns of Body Movement in Mbwela/Nkhangala Boys’ 
                  Initiation 349
Section 3: Likembe Tunings and Musical Concepts of an Adolescent 
                  Kachokwe: Kufuna Kandonga 382

Notes 405
Bibliography 416
Sound Examples of CD 1 456

Contents of Volume II 464

Kubik, Gerhard: Theory of African Music. Vol. 2. Chicago, Ill.: University of Chicago Press, 2010. 359 p. & CD ISBN 978-0-226-45693-5 (cloth) 978-0-226-45694-2 (paper)

CONTENTS

Author’s Preface to Volume II vi

VI.
The Cognitive Study of African Musical “Rhythm” 1
Section 1: Cognitive Anthropology and African Music: 
                  What We Can Learn from Each 2
Section 2: Timing Systems 27
Section 3: Time-Line Patterns 52
VII.
African Music and Auditory Perception 85
Section 1: Focus on Cross-Cultural Comprehension: 
                  Motor-Accents, Reference Beat and
Metrical Inversion 85
Section 2: Focus on “Auditory Streaming” and the I.P. Effect 707
VIII.
Àló-Yoruba Chantefables: An Integrated Approach towards West African Music and Oral Literature 757
IX.
Genealogy of a Malaŵian Musician Family: Daniel J. Kachamba (1947-1987) and His Associates 277
X.
African Space/Time Concepts and the Tusona Ideographs in
Luchazi Culture 275

Further Recommended Readings 323

List of Musical Examples on CD II 332

Indexes for Volumes I and II
Index of Artists and Authors 337
Index of African Ethnic-Linguistic Designations 344
Index of Song Tities 348
General Index 353

Oliver, Paul: Savannah Syncopaters. African Retentions in the Blues. London: Studio Vista, 1970. 112 p. SBN 289-79827-2 (paperback) 289-79828-0 (hardbound)

CONTENTS

Afternoon – Nangodi 4
Africa and the Jazz Historian 10
Music in West Africa 28
Savannah Song 53
The Source of the Slaves 67
Africa and the Blues 84

Notes 102
Acknowledgments 105
Record List 106
Glossary of Instruments 108
Index of Tribes and People 111

Mortaigne, Veronique: Cesaria Evora. La voix du Cap-Vert. Arles: Actes Sud, 1997. 203 p. ISBN 2-7427-1152-X

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Mortaigne, Veronique: Cesaria Evora. La voix du Cap-Vert. Arles: Actes Sud, 1997. 203 p. ISBN 2-7427-1152-X

CONTENTS

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Johnson, John William: ‘Heelloy’. Modern Poetry and Songs of the Somalis. London: HAAN Publishing, 1998. xxiii & 241 p. ISBN 978-1-874-20981-2

CONTENTS

Foreword to the first edition by B. W. Andrzejewski ix
Foreword to the 1996 edition by Abdilahi Qarshi xi
Preface to the first edition xv
Preface to the 1996 edition xxiii

1. Introduction
The social context 1
The Nature of Traditional Pastoralist Poetry 12
The Historical Development of Modern Oral Poetry 17

2. The Family of Miniature Genres
The Nature of the Family of Miniature Genres 27
The Poetry of the Miniature Family 32

3. The emergence of the Belwo
The Historical Background 49
The Belwo is Born 53
The Poetry of the Belwo 59

4. The Heello: Period One
The Metamorphosis: Belwo to Heello A 75
The Modem Poem: Heello A to Heello B 82

5. The Heello: Period Two
The Historical Background 95
The Poetry of the Second Period 103

6. The Heello: Period Three
The Historical Background 117
The Poetry of the Third Period 146

7. Characteristics of the Heello: All Periods
Themes Common to All Periods 175
Structural Characteristics and
Development Common to All Periods 190
The Impact of Media on Modern Poetry 208

8. Conclusion
The Inheritance of the Heello 215
Forces Behind the Success and Development of Modern Poetry 216

Collins, [Edmund] John: Fela. Kalakuta Notes. 2nd edition Middletown, Conn.: Wesleyan University Press, 2015.  xii & 326 p. ISBN 978-0-8195-7539-5 (paper) 978-0-8195-7540-1 (ebook)

CONTENTS

Foreword by Banning Eyre ix
Introduction 1

Part 1 Early Days
1 The Birth of Afrobeat 27
2 Joe Mensah Remembers 41
3 Fela in Ghana 49
4 Stan Plange Remembers 29

Part 2 Confrontation
5 Kalakuta is Born 67
6 “JB” Talks about Fela 73
7 The Kalakuta Republic 81
8 The Black President 114
9 Amsterdam and After 125

Part 3 Retrospect
10 Mac Tontoh on Fela 139
11 Frank Talk about Fela 152
12 Obiba Plays It Again 165
13 Smart Binete Sorts It Out 174
14 Anku Checks Out the Beat 178
15 Nana Danso Orchestrates 183
16 Some Early Afro-Fusion Pioneers 197
17 Interview with Fela 204
18 Afterthoughts and Updates 209
19. Felabrations at Home and Abroad 238

Chronology 259
Notes 269
Selected Bibliography 281
Discography 285
Appendix A: “Shuffering and Shmiling” Score 303
Index 309

Erlmann, Veit (ed.): Populäre Musik in Afrika. Veröffentlichungen des Museum für Völkerkunde. Neue Folge 53. Abteilung Musikethnologie VIII. Berlin: Museum für Völkerkunde, 1991. 312 pp. & 2 CDs. ISBN 3-88609-213-5

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Sweeney, Philip: Directory of World Music. A Guide to Performers and their Music. With Contributions from Peter Gabriel, Andy Kershaw, Giberto Gil [&] Manu Dibango. London: Virgin Books, 1991. 262 p. Section Africa 1-81 ISBN 0-86369-378-4

CONTENTS

AFRICA

The North and West
Introduction: Peter Gabriel 1
Libya 3
Tunisia 5
Algeria 6
Morocco 13
Mauritania 16
Senegal 17
Mali 20
Guinea 26
Guinea-Bissau 29
Cape Verde 29
Sierra Leone 31
Côte d’Ivoire 32
Ghana 34
Togo and Benin 36
Nigeria 37

Central Africa, The South and East
Introduction: Manu Dibango 42
Cameroon 44
Zaire 49
Congo 56
Gabon 56
Angola 57
Zambia 58
Mozambique 59
Zimbabwe 60
South Africa 65
Madagascar 70
Mauritius and Reunion 71
Tanzania and Zanzibar 72
Kenya 74
Uganda 76
Burundi 76
Ethiopia 77
Sudan 79

Lee, Hélène: Rockers d’Afrique. Stars et légendes du rock mandinque. Paris: Albin Michel, 1988. 223 pp. ISBN 2-226-03 139-1

TABLE DE MATIÈRES

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