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 Africa general / l’Afrique en général / África em geral  

Ambler, Charles:
Mass Media and Leisure in Africa.
The International Journal of African Historical Studies (Boston, Mass.), Vol. 35, No. 1, 2002: 119-136.

Arlt, Veit & Ernst Lichtenhahn:
Recordings of African Popular Music: A Valuable Source for Historians of Africa.
History in Africa (Cambridge), Vol. 31, 2004: 389-391.

Arnaud, Gérald:
L’économie des musiques africaines : un terrible paradoxe.
Africultures (Paris), 2006/4 (n° 69): 57-71.

Collins, [Edmund] John:
Chapter 23 The African recording Industry.
West African Pop Roots.
Philadelphia, Pa.: Temple University Press, 1992: 247-255.

Collins, [Edmund] John:
The Problems of Oral Copyright.
in: Frith, Simon (ed.): Music and Copyright.
Edinburgh: Edinburgh University Press, 1993: 146-158.

Emielu, Austin [‘Maro]:
The Music Business in Africa in view of Global Trends.
in: Aluede, C.; K. Samuel & F. Adedeji (eds.):
African Musicology: Past, Present and Future.
Ile-Ife: Association of Nigerian Musicologists, 2014: 283-295.

Kitchner, Julie:
Record Pirates Exploit Famine.
New African (London), No. 221, February 1986: 48.

Malm, Krister:
Intellectual Property Rights and Unfair Exploitation of
Traditional Music and Other Traditional Knowledge in Africa.
in: Thorsén, Stig-Magnus (ed.):
Sound of Change. Social and Political Features of Music in Africa.
Stockholm: SIDA Studies No. 12, 2004: 120-134.

Ouma, Marisella:
Copyright and the Music Industry in Africa.
The Journal of World Intellectual Property (Hoboken, N.J.), Vol. 7, Issue 6, 2004: 919-932.

Perullo, Alex:
Conceptions of Songs. Ownership, Rights, and African Copyright Law.
in: Stone, Ruth M. (ed.):The Garland Handbook of African Music.
2nd revised edition
New York, N.Y. & London: Routledge, 2008: 44-53.

Stapleton, Chris & Chris May:
Chapter The Record Industry.
African All-Stars. The Pop Music of a Continent.
London: Quartet Books, 1987: 257-295.
US reprint
African Rock: The Pop Music of a Continent.
New York, N.Y.: Obelisk/Dutton, 1990: 257-295.

Vernon, Paul:
Odeon Empire.
The Early History of German Involvement in World Music Recording.
Folk Roots (London), Nos. 170/171 (Vol. 19, Nos. 2/3), August/September 1997: 33-34 & 37.

Vernon, Paul:
Odeon Records. Their ‘Ethnic’ Output.
Musical Traditions (Stroud, Glostershire), No. 14, 1997. Online edition.

 West Africa general / Afrique de l’Ouest  en général / África Ocidental em gera l

Arlt, Veit:
The Union Trade Company and Its Recordings:
An Unintentional Documentation of West African Popular Music, 1931-1957.
History in Africa (Cambridge), Vol. 31, 2004: 393-405.

Bender, Wolfgang:
A Unique Case and Opportunity: In Favor of a Study on the UTC Label.
History in Africa (Cambridge), Vol. 31, 2004: 441-445.

Collins, [Edmund] John:
Chapter 20 The West African Recording Business.
Musicmakers of West Africa.
Washington, D.C.: Three Continents Press, 1985: 149-155.

Collins, [Edmund] John:
Chapter 44 The West African Recording and Music Business.
Highlife Time. Second revised edition.
Accra: Anamsesem Publications, 1996: 245-250.

Laing, Dave:
IFPI Makes New Piracy Seizure in Nigeria and Benin.
Africa Music (London), No. 24, March-April 1985: 13-14.

Mbaye, Jenny F.:
On the Rogue Practices of West African Musical Entrepreneurs.
in: Pieterse, Edgar & Abdou Maliq Simone (eds.):
Rogue Urbanism: Emergent African Cities.
Cape Town: African Centre for Cities & Jacana Media, 2013: 253–264.

Taylor, Alan R.:
Notes on the West African Record Industry.
Africa Report (Washington, D.C.), Vol. 13, No. 1, January 1968: 2.

Vernon, Paul:
Savannaphone. Talking Machines Hit West Africa.
Folk Roots (London), No. 122 (Vol. 15, No. 2), August 1993: 21, 23 & 25.

 Burkina Faso  

Arnqvist, Maria & Stig-Magnus Thorsén:
Music Industry in Burkina Faso and Mali – The Case of Seydoni Production.
Interview with Richard Traore (Burkina Faso).
in: Thorsén, Stig-Magnus (ed.):
Sound of Change. Social and Political Features of Music in Africa.
Stockholm: SIDA Studies No. 12, 2004: 107-119.

 Côte d’Ivoire  

Bensignor, François and Brooke Wentz:
Côte d’Ivoire Heart of the Industry.
in: Broughton, Simon; Mark Ellingham & Richard Trillo (eds.):
World Music. The Rough Guide, Volume 1: Africa, Europe and the Middle East.
London: The Rough Guides, 1999: 472-476.

Sangaré, Yacouba:
« Le marché de la musique n’est pas encore mûr en Afrique. »
Entretien avec Jean-Alain Texier directeur général de Jat Music (Abidjan).
Africulture (Paris), n° 29, juin 2000: 49-50.

Wentz, Brooke:
Ivory Towers: The Abidjan Recording Industry.
in: Broughton, Simon; Mark Ellingham, David Muddyman & Richard Trillo (eds.):
World Music. The Rough Guide.
London: The Rough Guides, 1994: 284-286.


Beeko, E. Kwadwo Odame:
The Dual-Relationship Concept of Right-Ownership in Akan Musical Tradition:
A Solution for the Individual and Communal Right-Ownership Conflicts in Music Production.
International Journal of Cultural Property (Cambridge), Vol. 18, Issue 3, August, 2011: 337-364.

Collins, [Edmund] John:
Crisis in the Ghanaian Music Industry.
West Africa (London), 20 August 1979: 1493.
in: Imfeld, Al (Hrsg.):
Verlernen, was mich stumm macht. Lesebuch zur afrikanischen Kultur.
Zürich: Unionsverlag, 1980: 226-228.

Collins, [Edmund] John:
Folklore – Some Problems of Copyright.
Ghana Copyright News (Accra), Issue 3, January 1991-December 1992: 17-19.
Based on a paper presented at the National Workshop on Copyright held by the
Ghana Copyright Administration, the Ghana National Commission on Culture
and the World Intellectual Property Organisation, WIPO, at the Academy of
African Music and Arts, AAMA, at Kokrobite, Accra October 9th-11th 1990.

Collins, [Edmund] John:
High-technology, Individual Copyrights and Ghanaian Music.
in: Lauer, Helen (ed.):
Ghana:  Changing Values/Changing Technologies. Ghanian Philosophical Studies, II.
Washington, D.C.: The Council for Research in Values and Philosophy, 2000: 183-201

Collins, [Edmund] John:
A Quarter Century of Problems. The Way Forward. The Gospel Boom.
[Three articles on the Ghanaian Music Industry].
West Africa (London), Issue 4339, 19-25 August 2002: 8-13.

Collins, [Edmund] John:
The ‘Folkloric Copyright Tax’ Problem in Ghana.
Media Development. The Journal of the World Association for
Christian Communication (London), No. 1, 2003: 10-14.

Collins, [Edmund] John:
Copyright, Folklore and Music Piracy in Ghana.
Critical Arts. A Journal of South-North Cultural and Media Studies (Durban),
Vol. 20, Issue 1, July 2006: 158-170.

Fosu-Mensah, Kwabena:
Keeping Talent at Home.
[Interview with Dick Essukfie-Bondzie, Essiebons Enterproses Ltd.].
West Africa (London), 3 September 1984: 1778-1779.

Gagakuma, Setorwu:
Ghana’s Number One Recording Studio.
New African (London), No. 222, March 1986: 52.

Nketia, J[oseph] H[anson Kwabena]:
The Grammophone and Contemporary African Music in the Gold Coast.
Procedings of the Fourth Annual Conference of the
West African Institute of Social and Economic Research.
Ibadan: University College, 1956: 191-202.


Barlet, Olivier:
Mali K7 : les pirates ont la peau dure.
Africulture (Paris), n° 29, juin 2000: 47-48.

Melville, Caspar:
Valuing Tradition: Mali’s Jeliw, European Publishers and Copyright.
Journal of Popular World Music (Sheffield), Vol. 4, No. 1, 2017: 10-44.

Skinner, Ryan Thomas:
Artists, Music Piracy, and the Crisis of Political Subjectivity in Contemporary Mali.
Anthropological Quarterly (Washington, D.C.), Vol. 85, No. 3, 2012: 723–754.


Adedeji, Wale:
The Nigerian Music Industry: Challenges, Prospects and Possibilities.
International Journal of Recent Research in Social Sciences and Humanities IJRRSSH
(Lucknow, U.P.), Vol. 3, Issue 1, January-March 2016: 261-271.

Adeleke, A.;
Music Industry in Nigeria: A Definition and Tools for Quality Music Production.
Nigerian Music Review (Ile-Ife), Vol. 9-10, No. 1, 2008-2009: 85-98.

Adeleke, A.;
Music Business Operation in Nigeria: A Definition and how to make it Work.
Nigerian Music Review (Ile-Ife), Vol. 9-10, No. 1, 2008-2009: 99-111.

Tanbansi Records. Growing, Growing, Growing.
Nigeria Pop Annual 1980 (London): 52 & 88.

Decca (West Africa) Ltd. Reaping the Fruits of a Sound Corporate Strategy.
Nigeria Pop Annual 1980 (London): 55 & 62-63.

RMNL. 20,000 LPs Daily.
Nigeria Pop Annual 1980 (London): 56-57 & 64-65.

Polygram Records Ltd. Playing a Dominant Role in the Market.
Nigeria Pop Annual 1980 (London): 58-60.

Increased High Technology. [Tabansi Records Portrait].
Africa Music (London), No. 3, May-June 1981: 26-27.

EMI Plans for the Future. [EMI (N) Ltd.].
Africa Music (London), No. 4, July-August 1981: 26-27 & 35.

Recording Studio Opens in Lagos. [32-track EMI (N) Ltd.].
West Africa (London), 31 August 1981: 2014-2015.

PMAN: A Powerful Tool against Piracy.
[Performing Musicians Association of Nigeria].
Africa Music (London), No. 10, July-August 1982: 16-17.

Polygram on the Move Again. [Polygram Nigeria].
Interview with Robert Martijnse
Africa Music (London), No. 10, July-August 1982: 34.

Twilight Records Moves Ahead. [Advertiser’s supplement].
Africa Music (London), No. 22, July-August 1984: 23-25.

Japex Records Limited. [Advertiser’s supplement].
Africa Music (London), No. 24, March-April 1985: 16-17.

From Lagos to Montevideo. Polygram Sends off Martijnse.
[Interview with Robert Martijnse].
Africa Music (London), No. 25 [Summer] 1985: 21.

Bender, Wolfgang:
Das Nigerphone Label – Afrikanische Musik braucht keine Hilfe.
Afrika hilft sich selbst. Prozesse und Institutionen der Selbstorganisation.
Schriften der Vereinigung von Afrikanisten in Deutschland (Hamburg), Band 15, 1994: 482-496.

Bender, Wolfgang:
Kapitel 4.9 Die Tonträger – Ihre Produktion und Vermarktung.
Der nigerianische Highlife. Musik und Kunst in der populären Kultur der 50er und 60er Jahre.
Wuppertal: Edition Trickster im Peter Hammer Verlag, 2007: 233-271.

Collins, [Edmund] John:
Seventy-five Years of African Recording.
Today, Nigeria is Africa’s Recording Giant. John Collins
Examines its Growth and Reflects on Future Problems.
Africa Now (London), No. 13, May 1982: 64-65.

Daramola Y.:
Mr. Machine: Influence of Modern Technology on Nigerian Popular Music.
Nigerian Music Review (Ile-Ife), Vol. 2 (Special Edition), 2001: 97-102.

Emielu, Austin [‘Maro]:
Pathways to a Sustainable Development of the Music Industry in Nigeria.
Nigeria Theatre Journal (Owerri), Vol. 8, No. 2. 2005: 284-298.

Faniyi, Kehinde Oluyemisi; Oluwarotimi Olaosebikan;
Omolara Olasunbo Loko & Olugbenga Olanrewaju Loko:
Recording Technology in Contemporary Nigeria:
Connecting the Nigerian Youth and the Drive for Development and Sustainability.
Nigerian Music Review (Ile-Ife), Vol. 14, No. 1, 2016: 99-113.

Fiofori, Tam:
Concerted Action. [2nd PMAN].
West Africa (London), 21 May 1984: 1069-1070.

Loko, O. O.:
The Internet and Music Industry in Nigeria.
Nigerian Music Review (Ile-Ife), Vol. 9-10, No. 1, 2008-2009: 215-224.

Loko, Olugbenga:
Psychosocial Perspectives on Music Piracy in Nigeria.
Nigerian Music Review (Ile-Ife), Vol. 14, No. 1, 2016: 59-71.

Obu, Nkem Ugo:
Polygram Nigeria: The Record Industry Leaders. [Advertiser’s supplement].
Africa Music (London), No. 15, May-June 1983: 22-27.

Obu, Nkem [Ugo]:
Rogers All Stars Super Groups. [Advertisment].
Africa Music (London), No. 17, September-October 1983: 24-25.

Ojukwu, Ebele V.; Young Sook Onyiuke & Chinyere C. Esimone:
Intellectual Property Rights Enforcement in Nigeria: A Prop for Music Industry.
US-China Education Review B (Valley Cottage, N.Y.), Vol. 5, No. 6, June 2015: 373-381.

Onwuegbuna, Ikenna Emmanuel:
Digitizing the Analogue: The Creative and Economic Impacts of the Nigerian Audio Engineer.
Journal of the Association of Nigerian Musicologists (Ile-Ife), Vol.  5, 2011: 68-79.

Onyezili, Frank N.:
The Making of Phonodisk.
Africa Music (London), No. 1, Janauary-February 1981: 26-27, 31-32.

Tabansi, Prince G.A.D.:
New Sound Techniques. [Tabansi Records].
Africa Music (London), No. 9, May-June 1982: 22 & 36-37.


Bachelier, Sophie:
Droits d’auteur : pour que les artistes existent !
Entretien avec Mme Siby, directrice du Bureau sénégalais des Droits d’auteur.
Africulture (Paris), n° 29, juin 2000: 36-43.

Bachelier, Sophie:
Le point de vue d’Aziz Dieng. Studio Midimusique, Dakar.
Africulture (Paris), n° 29, juin 2000: 44-46.

Mbaye, Jenny F.:
Géographies de l’économie de la musique hip hop au Sénégal.
in: Roy-Valex, Myrtille & Guy Bellavance (dir.):
Arts et territoires à l’ère du développement durable. Vers une nouvelle économie culturelle ?
Laval: Presses de l’Université Laval, 2015: 231-258.

Merriam, Alan P.:
Africa Report (Washington, D.C.), Vol. 13, No. 2, February 1968: 6.
[On record production and the record market in Senegal].

Ndour, Saliou:
Industrie musicale au Sénégal : étude d’une évolution.
in: Mudimbe, V[alentin] Y. (ed.):
Contemporary African Cultural Productions.
Dakar: CODESRIA, 2012: 129-176.

Pratt, Andy C.:
The Music Industry and its Potential Role in Local Economic Development: The Case of Senegal.
in: Barrowclough, Diana & Zeljka Kozul-Wright (eds.):
Creative Industries and Developing Countries: Voice, Choice and Economic Growth.
London & New York, N.Y.: Routledge, 2008: 130-145.

 Sierra Leone  

Bender, Wolfgang:
Farewell to the Queen – African Music on Shellac Discs.
The Gramophone Library of the Sierra Leone Broadcasting Service.
in: Schmidhofer, August & Dietrich Schüller (Hrsg.):
For Gerhard Kubik. Festschrift on the Occation of his 60th Birthday.
Wien: Hans Lang, 1994: 219-244.

Collins, [Edmund] John:
Chapter 42 The Sierra Leone Producer Akie Deen and his Disco-Maringas and Discolypso.
Highlife Time. Second revised edition.
Accra: Anamsesem Publications, 1996: 233-235.


Adewusi, Abiade B[asil]:
Chapitre 21 Propriété Intellectuelle :
Droit des artistes, lutte contre la Piraterie, le Syndicalisme.

La Chanson Togolaise. De la tradition à la modernité.
Lomé: Editions Moffi, 2010: 291-294.

 Central Africa / Afrique central / África Central  


Sitchet, Christine:
L’autoproduction, business rentable ?
Entretien avec Pablo Symbol, chanteur d’origine camerounaise.
Africulture (Paris), n° 29, juin 2000: 18-20.


Tsokini, Guillaume:
La contrefaçon sur le marché phonographique au Congo-Brazzaville : cassettes et disques.
in: Kadima-Nzuji, Mukala & Alpha Noël Malonga (dir.):
Ininéraires et convergences des musiques traditionelles et modernes d’Afrique.
Paris: L’Harmattan / Brazzaville: FESPAM, 2004: 467-471.

 RD Congo  

Bender, Wolfgang:
Die frühe Schallplattenproduktion im Kongo – Zwischenbericht.
in: Bröcker. Marianne (Hrsg.):
Berichte aus dem ICTM-Nationalkomitee Deutschland (1999 und 2000), Doppelband IX und X.
Bamberg: ICTM-Nationalkomitee Deutschland, 2001: 193-205.

Mensah, Ayoko:
« Les maisons de disques ne font jamais de cadeau :
elles font du business. » Entretien avec Lokua Kanza.
Africulture (Paris), n° 29, juin 2000: 28-35.

Mutanda, Kabeya Nsenda:
La problématique des droits d’auteurs en République démocratique du Congo : cas de la SONECA.
in: Kadima-Nzuji, Mukala & Alpha Noël Malonga (dir.):
Ininéraires et convergences des musiques traditionelles et modernes d’Afrique.
Paris: L’Harmattan / Brazzaville: FESPAM, 2004: 449-453.

Ndoni ,Théodore Nganzi:
Quelle société d’auteurs et d’artistes interprètes pour la République démocratique du Congo ?
Nécessité de la restructuration de la SONECA.
in: Kadima-Nzuji, Mukala & Alpha Noël Malonga (dir.):
Ininéraires et convergences des musiques traditionelles et modernes d’Afrique.
Paris: L’Harmattan / Brazzaville: FESPAM, 2004: 455-459.

Tsambu Bulu, Léon:
La musique populaire urbaine en RDC :
le paradoxe d’un produit culturel national et marchand importe.
Enjeux (Yaoundé), n° 20, juillet-septembre 2004: 7-13.

Tsambu Bulu, Léon:
Épure d’un développement de l’industrie du disque congolaise par le mécénat privé.
Revue africaine des médias (Dakar), vol. 13, nᵒ 2, 2005: 36–67.

 East Africa / Afrique de l’Est en général / África Oriental em geral  

Graebner, Werner:
The First 35 Years of Commercial Recording in East Africa, 1928-1963.
Processes of institutionalization (some preliminary research findings).
Research Paper. Institute of African Studies, University of Nairobi, 1989. 23 p.

Harrev, Flemming:
Jambo Records and the Promotion of Popular Music in East Africa.
The Story of Otto Larsen and East African Records Ltd. 1952-1963.
in: Bender, Wolfgang (ed.): Perspectives on African Music.
Bayreuth African Studies Series (Bayreuth), No. 9, 1989: 103-137 (+ 13 photos).
PDF Download 11.7 MB

Malm, Krister & Roger Wallis:
Chapter 5 Case Study Kenya & Chapter 6 Case Study Tanzania.
Media Policy and Music Activity.
Abingdon & New York, N.Y.: Routledge, 1992: 84-107 & 108-124.

Morin, Matthew M.:
Music, Memory, and Economy: NGO Initiatives of East Africa’s Zilizopendwa Progenitors.
The World of Music, New Series (Berlin), Vol. 3, Issue 1, January 2014: 63-80.

Perullo, Alex & Andrew J. Eisenberg:
Musical Property Rights in Tanzania and Kenya after TRIPS.
in: Davis, Matthew & Debora Halbert (eds.):
The Sage Handbook of Intellectual Property.
London & Los Angeles, Calif.: Sage Publications, 2015: 148-164.

Tracey, Hugh:
Recording Tour, May to November 1950 East Africa.
African Music Society Newsletter (Johannesburg), Vol. 1, No. 4, June 1951: 38-51.

Vernon, Paul:
Feast of East.
Delvings into the History of World Music Recording Touches Down in East Africa.

Folk Roots (London), No. 145 (Vol. 17, No. 1), July 1995: 26-27 & 29.


Bender, Wolfgang:
Initial  Research into the Life and Work of Tessema Eshete:
The First Etiopian Singer to Record Commercially.
in: Uhlig, Siegbert (ed.):
Proceedings of the XVth International Conference of Ethiopian Studies Hamburg, July 20-25, 2003.
Äthiopistische Forschungen, Band 65.
Wiesbaden: Harrassowitz, 2006: 403-408.


Blewett, Robert A. & Michael Farley:
Institutional Constraints on Entrepreneurship in Kenya’s Popular Music Industry.
in: Spring, Anita & BarbaraMcDade (eds.);
African Entrepreneurship: Themes and Realities.
Gainesville, Fla.: University of Florida Press, 1998: 233-250.

Ekdale, Brian:
Global Frictions and the Production of Locality in Kenya’s Music Video Industry.
Media, Culture & Society (London), 2018, Vol. 40, Issue 2, 2018:.211-227.

Malm, Krister & Roger Wallis:
Chapter 5 Case Study Kenya.
Media Policy and Music Activity.
London: Routledge, 1992: 84-107.

Wallis, Roger & Krister Malm:
The Interdependency of Broadcasting and the Phonogram Industry.
A Case Study Covering Events in Kenya during March 1980.
Mediacult Documents, No. 6.
Wien: International Institute for Audiovisual Communication and Cultural Development, 1980. 32 p.
in: Horn, David & Philip Tagg (eds.):
Popular Music Perspectives.
Göteborg & Exeter: IASPM, 1982: 93-110.

Wanyama, Mellitus Nyongesa:
Policy and Implementation: A Case of Music Copyright Laws in Kenya.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 4, Issue 1, 2007 27-41.


Clark, Msia Kibona:
The Role of New and Social Media in Tanzanian Hip-Hop Production.
Cahiers d’études africaines (Paris), 2014/4 (n° 216): 1115-1136.

Graebner, Werner:
The Interaction of Swahili Taarab Music and the Record Industry.
A Historical Perspective (Tanzania).
in: Beck, Rose-Marie & Frank Wittmann (eds.):
African Media Cultures – Transdisciplinary Perspectives /
Cultures de médias en Afrique – perspectives transdisciplinaires.
Topics in African Studies, Vol. 2.
Köln: Rüdiger Köppe Verlag , 2004: 171-192.

Reuster-Jahn, Uta & Gabriel Hacke:
The Bongo Flava Industry in Tanzania and Artists’ Strategies for Success.
Arbeitspapiere / Working Papers, Nr. 127.
Institut für Ethnologie und Afrikastudien.
Johannes Gutenberg‐Universität (Mainz), 2011. 21 p.
in: Krings, Matthias & Uta Reuster-Jahn (eds.):
Bongo Media Worlds: Producing and Consuming Popular Culture in Dar es Salaam.
Mainzer Beiträge zur Afrikaforschung, Band  34.
Köln: Rüdiger Köppe Verlag, 2014: 24-42.

Tsuruta, Tadasu:
Music as a Profession:
Dance Bands Musicians in Dar es Salaam and their Urban Networks.
in: Kawada, Junzo & Kenichi Tsukada (eds.):
Cultures sonores d’Afrique, Vol. 2.
Hiroshima: Hiroshima City University, 2001: 127-147.

 Indian Ocean general  / l’Océan Indien en général / Oceano Índico em geral  

Samson, Guillaume & Julien Mallet:
Droits d’auteur, bien commun et création.
Tensions et recompositions à Madagascar et à La Réunion.
Gradhiva. Revue d’anthropologie et d’histoire des arts (Paris), n° 12, 2010: 117-137.


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.

 Southern Africa / Afrique austral / África Austral  


Lwanda, John Lloyd:
Computers, Culture and Music: The History of the Recording Industry in Malawi.
The Society of Malawi Journal (Blantyre), Vol. 66, No. 1, 2013: 23-42.

 South Africa  

Andersson, Muff:
Part 2 Chapter 2 The Politics of Production. Interviews with Independent Producers.
Music in the Mix. The Story of South African Popular Music.
Johannesburg: Ravan Press, 1981: 61-83.

Boloka, Gibson:
Cultural Studies and the Transformation of the Music Industry:
Some Reflections on Kwaito.
in: Wasserman, Hermann & Sean Jacobs (eds.):
Shifting Selves: Post-Apartheid Essays on Mass Media, Culture and Identity
Cape Town: Kwela Books, 2003: 97-108.

Chapman, Chris:
Popular Music and the Markets of Apartheid.
Staffrider (Johannesburg), Vol. 7, No. 2, 1988: 79-83.

Coplan, David [Bellin]:
The African Musician and the Development of the
Johannesburg Entertainment Industry, 1900-1960.
Journal of Southern African Studies (Oxford), Vol. 5, No. 2, April 1979: 135-164.

Drewett, Michael:
Shifty Records in Apartheid South Africa:
Innovations in Independent Record Company Resistance.
South African Music Studies (Matieland), Vol. 34-35, No. 1, 2015: 29-62.

Huskisson, Yvonne:
Record Industry in South Africa.
Progressus (Pretoria), Vol. 25, No. 11, November 1976: 1-17.

McNeill, Fraser G.:
Making Music, Making Money:
Informal Musical Production and Performance in Venda, South Africa.
Africa. Journal of the International African Institute (London), Vol. 82, No. 1, 2012: 93-110.

Ratiba, Matome M.:
To Copyright ‘dikosa tsa setso’ or not: Pondering the Challenges.
Indilinga: African Journal of Indigenous Knowledge Systems  (Pietermaritzburg), vol. 11, no. 2, 2012: 233-244.

Seroff, Doug:
Shifty Record Company.
“Do something to facilitate the change in South Africa”.
Keskidee (Rochford, Essex), No. 2, 1990: 22-26.

Sherman, Barry:
The Culture of Digital Music Piracy: A South African Perspective.
South African Music Studies (Matieland), Vol. 28, No. 1, 2008: 93–117.

Special Correspondent of The Star, Johannesburg:
African Music from the Point of View of the Recording Industry.
African Music (Roodepoort), Vol. 3, No. 2, 1963 41-42.


Koloko, Leonard:
Part Three Legends behind the Scenes.
Zambian Music Legends.
Research Triangle Park, N.C.: Lulu.com, 2012: 336-369.


Brusila, Johannes:
Between Vinyl and Piracy: The Music Industry of Zimbabwe.
in: Hautamäki T. & H.Järviluoma (eds.). Music on Show: Issues of Performance.
Tampere: Department of Folk Tradition, University of Tampere, 1998: 52-55.

Butete, Victoria Blessing:
The Challenges Facing the Music Industry in Zimbabwe:
A Case of the National Arts Council of Zimbabwe.
The Dyke (Gwelo), Vol. 8, No. 3, 2014: 163-183.

Cameron, Sheila:
Cultural production in Bulawayo, Zimbabwe 1984–1991.
Critical Arts (Durban), South-North Cultural and Media Studies, Vol. 16, Issue 2, 2002: 76-93.

Fagerjord, Anders:
The Phonogram Industry in Zimbabwe.
in: Andersen, Elin W.:
Media, Democracy and Development.
Oslo: Department of Communication, University of Oslo, 1997: 61-85.

Mhiripiri, Joyce T. & Nhamo Mhiripiri:
Zimbabwe’s Popular Music Industry and Copyright Legislation.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 3, Issue 1, 2006 79-96.

Mhiripiri, Joyce Tsitsi:
Patterns of Live Music Promotion and Management in Zimbabwe.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 9, Issue 2, 2012: 66-79.

Mhiripiri, Joyce Tsitsi:
Towards an Epistemology of Management and
Economics in the Zimbabwean Music Industry.

Journal of African Media Studies (Bristol), Vol. 4, Issue 3, December 2012: 339-356.

Mhiripiri, Nhamo Anthony:
The Production of Stardom and the Survival Dynamics of the
Zimbabwean Music Industry in the Post-2000 Crisis Period.
Journal of African Media Studies (Bristol), Vol. 2, Issue 2, August 2010: 209-224.

Mhiripiri, Nhamo Anthony:
Dancing through the Crisis: Survival Dynamics and Zimbabwe Music Industry.
in: Mudimbe, V[alentin] Y. (ed.):
Contemporary African Cultural Productions.
Dakar: CODESRIA, 2012: 1-28.

Scannell, Paddy:
Music, Radio and the Record Business in Zimbabwe Today.
Popular Music (Cambridge), Vol. 20, Issue 1, 2001: 13–27.

 International / International / Internacional  

Bensignor, François:
Nouveaux enjeux pour labels du monde.
Hommes & migrations (Paris), nᵒ 1275, 2008: 222-226.

Kozul-Wright, Zeljka:
Challenges and Prospects in the Music Industry for Developing Countries.
in: UNCTAD Youth Forum Music Industry Workshop.
New York, N.Y. & Geneva: United Nations, 2003: 9-32.

Laing, Dave:
World Music and the Global Music Industry.
Popular Music History (Sheffield), Vol. 3, No. 3, 2008: 213-231.

van Peer, René:
Taking the World for a Spin in Europe:
An Insider’s Look at the World Music Recording Business.
Ethnomusicology (Bloomington, Ind.), Vol. 43, No. 2, Spring – Summer 1999: 374-384.

 France / France / França  

Bensignor, François:
Hommage à Ibrahima Sylla. [Syllart Productions]
Hommes & migrations (Paris), n° 1305, 2014: 186-192.

Elbadawi, Soeuf:
Label Bleu, Couleur Indigo. Entretien avec Christian Mousset.
Africulture (Paris), n° 29, juin 2000: 13-15.

Kwa, Samy Nja:
Lusafrica, un label pour la diaspora.
Entretien avec José Da Silva, producteur.
Africulture (Paris), n° 29, juin 2000: 7-9.

Kwa, Samy Nja:
Africolor, colonne vertébrale de Cobalt.
Entretien de avec Philippe Conrath, producteur et programmeur.
Africulture (Paris), n° 29, juin 2000: 10-12.

 United Kingdom / Royaume-Uni / Reino Unido  

Disi, Dean:
Can Africa Brace Up to the Island Challenge? [Island Records].
Africa Music (London), No. 16, July-August 1983: 4-5.

Ewens, Graeme:
Island goes Africa. [Island Records].
Africa Music (London), No. 6, November-December 1981: 38-39.

Ewens, Graeme:
Stern’s Happy Birthday.
The Five-year Career of Stern’s African Record Centre in London,
the Largest Distributor of African Records Outside Paris.
West Africa (London), 21 March 1988: 503-504.

Stapleton, Chris:
One Man, One Island. Jambo Vanrenen and Island’s Plans for the Furture.
Blues & Soul (London), No. 400, 22 December 1987 – 4 January 1988: 42.

 USA / Etats-Unis / EUA  

Stewart, Gary:
African Music Gallery.
Interview with Ibrahim Bah, a Leading Promoter of African Music in the US.
West Africa (London), 16 December 1985: 2639.

Page created 30/08/2018 © afrobib.com – update 22/10/2018

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

    ISBN 2-7427-1152-X 



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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


    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)


    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 



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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



    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 

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