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Arnaud, Gérald:
Madagascar : nouvelles frontière de la world music.
Africulture (Paris), nᵒ 55, 2003: 161-168.

Anderson, Ian:
Madagascar – A Parallel Universe.
in: Broughton, Simon; Mark Ellingham & Jon Lusk (eds.):
The Rough Guide to World Music. Volume 1: Africa and the Middle East.
London: The Rough Guides, 2006: 197-210.

Bensignor, François:
Madagascar, musiques foisonnantes.
Hommes & migrations (Paris), n° 1302, 2013: 176-179.

Boyer-Rossol, Klara:
From the Great Island to the African Continent through the Western World:
Itineraries of a “Return to the Origins” through Hip Hop Music in Madagascar (2000-2011).
in: Clark, Msia Kibona & Mickie Mwanzia Koster (eds.):
Hip Hop and Social Change in Africa: “Ni Wakati”.
Lanham, Md.: Lexington Books, 2014: 178-196.

Clerfeuille, Sylvie:
Évolution des instruments à cordes malgaches et leur influence sur les guitares de l’île.
in: Kadima-Nzuji, Mukala & Alpha Noël Malonga (dir.):
Ininéraires et convergences des musiques traditionelles et modernes d’Afrique.
Paris: L’Harmattan / Brazzaville: FESPAM, 2004: 401-407.

Emoff, Ron:
Spitting into the Wind: Multi-edged Environmentalism in Malagasy Song.
in: Dawe, Kevin (ed.): Island Musics.
Oxford: Berg Publishers, 2004: 51-64.

Fuhr, Jenny:
“6/8 rhythm” Meets “lova-tsofina”: Experiencing Malagasy Music.
Music and Arts in Action (Exeter ), Vol. 3, No. 3, 2011: 56-76.

Graham, Ronnie:
Chapter 37 Madagascar.
Stern’s Guide to Contemporary African Music.
London: Zwan / Off the Record Press, 1988: 298-300.

Graham, Ronnie:
Chapter 34 Madagascar.
The World of African Music. Stern’s Guide to Contemporary African Music. Volume 2.
Chicago, Ill.: Pluto Press: 1992: 174-177.

Mauro, Didier:
Rocking in Madagascar: Aspects Sociologiques du Rock’n Roll Malgache.
Madagascar Magazine, nᵒ 31, septembre 2003: 54–57.

Meinhof, Ulrike Hanna:
Initiating a Public: Malagasy Music and Live Audiences in Differentiated Cultural Contexts.
in: Livingstone, Sonia (ed.):
Audiences and Publics: When Cultural Engagement Matters for the Public Sphere.
Bristol, Intellect Books, 2005: 115-138.

Meinhof, Ulrike Hanna & Zafimahaleo Rasolofondraosolo:
Malagasy Song-Writer Musicians in Transnational Settings.
Moving Worlds. A Journal of Transcultural Writings (Leeds), Vol.5, No. 1, 2005: 144-158.

Mallet, Julien:
HIistoire de vies, histoire d’une vie.
Damily, musicien de tsapiky, troubadour des temps modernes. 
Cahiers de musiques traditionelles (Genève), vol. 15, 2002: 113-132.

Malet, Julien:
Liens sociaux et rapports ville / campagne.
Analyse d’une pratique musicale du sud de Madagascar.

in: Live, Yu-Sion & Jean-François Hamon (eds.):
Diversité et spécialités des musiques traditionelles de l’Ocean Indien.
Kabaro. Revue internationale des sciences de l’homme et des sociétés,
Université de la Réunion (Saint-Denis- La Réunion), vol. 2, nᵒ 2/3, 2004: 155-168.

Mallet, Julien:
Industrie du disque, musique africaines et naissance du tsapiky.
‘Jeune musique’ de Tuléar (Sud-Ouest de Madagascar).
in: Nativel, Didier & Faranirina V. Rajaonah (dir):
Madagascar et l’Afrique: Entre identité insulaire et appartenance historique.
Paris, Karthala, 2007: 469-481.

Mallet, Julien:
« Asio Elany ! » Le tsapiky, une « jeune musique» qui fait danser les ancêtres.
Cahiers d’ethnomusicologie (Genève), vol. 21, 2008: 155-174.

Montoya-Razafindrakoto, Jobonina:
La valiha face à la tradition et à la modernité : un paradoxe permanent.
in: Live, Yu-Sion & Jean-François Hamon (eds.):
Diversité et spécialités des musiques traditionelles de l’Ocean Indien.
Kabaro. Revue internationale des sciences de l’homme et des sociétés,
Université de la Réunion (Saint-Denis-La Réunion), vol. 2, nᵒ 2/3, 2004: 129-145.

Rakotomalala, Mireille:
Musique à Madagascar: son évolution selon les divers courants d’influence.
Bulletin de l’Académie Malgache, Nouvelle série (Tananarive), tome 64, no. 1/2, 1986: 71-79.

Rakotomalala, Mireille:
Pratique musicale à Madagascar.
in: Live, Yu-Sion & Jean-François Hamon (eds.):
Diversité et spécialités des musiques traditionelles de l’Ocean Indien.
Kabaro. Revue internationale des sciences de l’homme et des sociétés,
Université de la Réunion (Saint-Denis- La Réunion), vol. 2, Nᵒ 2/3, 2004: 66-81.

Rakotomavo, Germain:
« Ny gitara tendry gasy » ou jeu de guitare à la manière malgache.
in: Live, Yu-Sion & Jean-François Hamon (eds.):
Diversité et spécialités des musiques traditionelles de l’Ocean Indien.
Kabaro. Revue internationale des sciences de l’homme et des sociétés,
Université de la Réunion (Saint-Denis- La Réunion), vol. 2, nᵒ 2/3, 2004: 147-153.

Rakotoson, Michèle:
Dix ans de chanson à Madagascar.
Itinéraires et Contacts de Cultures, Vol. 8. Chansons d’Afrique et des Antilles.
Publication de Centre d’études francophones de l’Université de Paris XIII.
Paris: Éditions l’Harmattan, 1988: 99-106.

Ranaivoson, Dominique:
La place du chant dans les écrits de Michèle Rakotoson.
Notre Librairie (Paris), nᵒ 154, avril-juin 2004: 42-47.

Randrianary, Victor:
Mama Sana. Succès, angoisses… et musique : le blues sakalava.
Cahiers de musiques traditionelles (Genève), vol. 15, 2002: 97-112.

Rasolofondraosolo, Zafimahaleo & Ulrike H[anna] Meinhof:
Popular Malagasy Music and the Construction of Cultural Identities.
AILA Review (Winterthur) , Vol. 16, 2003: 127-148.

Terramorsi, Bernard & Elie Rajaonarison:
Jaojoby et Samoela : les deux grandes figures de la chanson malgache moderne.
in: Live, Yu-Sion & Jean-François Hamon (eds.):
Diversité et spécialités des musiques traditionelles de l’Ocean Indien.
Kabaro. Revue internationale des sciences de l’homme et des sociétés,
Université de la Réunion (Saint-Denis- La Réunion), vol. 2, nᵒ 2/3, 2004: 169-205.

Verne, Markus:
Die Grenzen des Kontextualismus: Madagassischer Heavy Metal,
„satanische“ Ästhetik und die ethnologische Erforschung populärer Musik.
Zeitschrift für Ethnologie (Berlin), Band 137, Heft 2, 2012: 187-206.
English edition
The Limits of Contextualism: Malagasy Heavy Metal, ‘Satanic’ Aesthetics,
and the Anthropological Study of Popular Music.
Déjà Lu Translations [Online] (World Council of Anthropological Associations WCAA),
Issue 3, February 2015: 1-20.

Verne, Markus:
Heavy Conditions: Power Metal in Madagascar.
in: Brown, Andy R. & Kevin Fellesz (eds.):
Heavy Metal Generations.
Oxford: Inter-Disciplinary Press, 2012: 37–47.

Verne, Markus:
Sounds of the Past. Music, History, and Astonishment.
in: Strecker, Ivo & Markus Verne (Hrsg.):
Astonishment and Evocation. The Spell of Culture in Art and Anthropology.
Oxford & New York, N.Y.: Berghahn Books, 2013: 97-110.

Verne, Markus:
“A Highland Thing”: Heavy Metal and the Construction of Cultural Difference in Madagascar.
Journal of Popular World Popular Music (Sheffield), Vol. 4, No. 1, 2017: 58-77.

Verne, Markus:
Madagassischer Heavy Metal – Globale oder lokale Praxis?
in: Leggewie, Claus & Erik Meyer (Hrsg.):
Globale Pop. Das Buch zur Weltmusik.
Stuttgart & Weimar: J. B. Metzler Verlag, 2017: 359-365.

Page créée 12/08/2018 © afrobib.com – mettre à jour 08/10/2018

  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

    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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  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

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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

    sweeney1991CONTENTS

    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 MATIÈRESafropop1995

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