See as well / Voir aussi / Veja também “West Africa general – Articles”

Abo, Klevor:
Music and Struggle. Review: The Tour of Ghana by Two
Europe-based Bands, Misty in Roots and Kantata.
West Africa (London), 1 February 1988: 124.

Acquaye, Saka:
Modern Folk Opera in Ghana.
African Arts (Los Angeles, Calif.), Vol. 4, No. 2, Winter 1971: 60-63.

Adinkrah, Mensah:
Witchcraft Themes in Popular Ghanaian Music.
Popular Music and Society (Abingdon), Vol. 31, No. 3, 2008: 299-311.

Agovi, Kofi E[rmeleh]:
The Political Relevance of Ghanaian Highlife Songs since 1957.
Research in African literatures (Bloomington, Ind.), Vol. 20, No. 2, 1989: 194-201.

Amegatcher, Andrew:
Ephraim Amu and the Story of Yaa Amponsah.
Ghana Copyright News (Accra), No. 1, March 1990: 5-6.

Ampofo, Akosua Adomako; Awo Mana Asiedu & Anne-Marie Bourgeois:
Changing Representations of Women in Ghanaian Popular Music.
Paper presented at The Pathways of Women’s Empowerment Research Project Consortium Conference,
Pathways of Women’s Empowerment: What are we Learning?, Cairo 20-24 January 2009: 1-45.

Ampofo, Akosua Adomako & Awo Mana Asiedu:
Changing Representations of Women in Ghanaian Popular Music: Marrying Research and Advocacy.
Current Sociology (Thousand Oaks, Calif.), Vol.60, Issue 2, March 2012: 258-279.

Annin, Felicia:
Poetry of Ghanaian Hip-Life Music: Reflections on the Thematology of Selected Hip-Life Songs.
IOSR Journal of Humanities and Social Science (Ghaziabad, UP), Vol. 19, Issue 1, Ver. III, 2014: 41-48.

Anonymous:
High-Life is his Business. Profile of E. T. Mensah.
West African Review (Liverpool), Vol. 28, No. 354, March 1957: 263.

Anonymous:
High-Life and the People.
West African Review (Liverpool), Vol. 32, No. 408, December 1961: 26-27 & 29.

Asante-Darko, Nimrod [K.] & Sjaak van der Geest:
Male Chauvinism: Men and Women in Ghanaian Highlife Songs.
in: Oppong, Christine (ed.):
Female and Male in West Africa.
London: George Allen & Unwin, 1983: 242-255.

Ayettey, Benjamin Obido:
Jumping like a Kangaroo: Music and Dance in the Campaign Strategy of Ghanaian Political Parties.
Muziki. Journal of Music Research in Africa (Pretoria), Vol. 13, Issue 1, 2016: 2-18.

Avorgbedor, Daniel K.:
The Place of ‘Folk’ in Ghanaian Popular Music.
Popular Music & Society (Bowling Green, Ohio), Vol. 9, No. 3, 1983: 35-44.

Avorgbedor, Daniel [K.]:
Rural-Urban Interchange: The Anlo-Ewe.
in: Stone, Ruth M. (ed.): Africa. The Garland Encyclopedia of World Music, Vol. 1.
New York, N.Y. & London: Garland Publishing Inc., 1998: 389-399.
Reprint
New York, N.Y. & London: Routledge, 2013: 389-399.

Bame, K[wabena] N.:
The Popular Theatre in Ghana.
Research Review (Legon), Institute of African Studies, Vol. 3, No. 2, 1967: 34-38.

Bame, K[wabena] N.:
Comic Play in Ghana.
African Arts (Los Angeles, Calif.), Vol. 1, No. 4, Summer 1968: 30-34 & 101.

Bame, K[wabena] N.:
Comic Plays in Ghana.
Rural Africana (East Lansing, Mich.), No. 27, Spring 1975: 25-46.

Bame, K[wabena] N.:
Des origines et développement du concert-party au Ghana.
Revue d’histoire du théâtre (Paris), Vol. 27, No. 1, 1975: 10-20.

Bareis, Urban:
Formen neo-traditioneller Musik in Kpando, Ghana.
in: Erlmann, Veit (ed.): Populäre Musik in Afrika.
Veröffentlichungen des Museum für Völkerkunde. Neue Folge 53.
Abteilung Musikethnologie VIII.
Berlin: Museum für Völkerkunde, 1991: 59-108.

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.

Botwe-Asamoah, Kwame:
Chapter 6 Nkrumah’s Cultural Policies: The State and the Arts.
Kwame Nkrumah’s Politico-cultural Thought and Policies:
An African-Centered Paradigm for the Second Phase of the African Revolution.
New York, N.Y.: Routledge, 2005: 149-176.

Brempong, Owusu:
Highlife: An Urban Experience and Folk Tradition.
Journal of Performing Arts (Legon), Vol. 2, No. 2, 1996: 17-29.

Brempong, Owusu:
Libation in Highlife Songs.
Research Review (Legon), Vol. 16, No. 1, 2000: 39-57.

Brempong, Owusu:
Folktale Performance in Highlife songs: An Empirical Observation.
Journal of Performing Arts (Legon), Vol. 4, No. 1, 2009/2010: 16-28.

Brühwiler, Benjamin:
Blackface in America and Africa:
Popular arts and Diaspora Consciousness in Cape Town and the Gold Coast.
in: Falola, Toyin & Tyler Fleming (eds.):
Music, Performance and African Identities.
New York, N.Y.: Routledge, 2012: 125-143.

Carl, Florian:
“Never Go Back”:
Ghanaian Gospel Music, Born-Again Christianity, and the Nonconformity of the Ethnographer.
Norient Academic Online Journal  (Bern), 23 May 2012.

Carl, Florian:
From Burger Highlife to Gospel Highlife: Music, Migration, and the Ghanaian Diaspora.
in: Krüger, Simone & Ruxandra Trandafoiu (eds.):
The Globalization of Musics in Transit: Music Migration and Tourism.
New York, N.Y.: Routledge, 2014: 251-271.

Carl, Florian:
The Ritualization of the Self in Ghanaian Gospel Music.
Ghana Studies (Madison, Wis.) Vol. 17, 2014: 101-129.

Carl, Florian:
Music, Ritual, and Media in Charismatic Religious Experience in Ghana.
in: Wagner Thomas & Anna Nekola (eds.):
Congregational Music-Making and Community in a Mediated Age.
Farnham: Ashgate, 2015: 45-60.

Carl, Florian:
“Obiaa pɛ sɛ ɔkɔ international”:
Negotiating the Local and the Global in Ghanaian Hiplife Music.
in: Helms, Dietrich & Thomas Phlebs (eds.):
Speaking in Tongues: Pop Lokal Global.
Beiträge zur Popularmusikforschung, Vol. 42.
Bielefeld: Transcript-Verlag, 2015: 33-44.

Carl, Florian:
“Worshipping in my head”:
Everyday Devotional Practices and Disciplines of Listening Among Ghanaian Christians.
Ghana Studies (Madison, Wis.) Vol. 20, 2017: 45-69.

Carl, Florian & John W. Dankwa:
Hiplife Music and Rap in Ghana as Narrative and Musical Genre.
in: Lundt, Bea & Ulrich Marzolph (eds.):
Narrating (Hi)stories in West Africa.
Münster: LIT Verlag, 2015: 101-112.

Carl, Florian & Rosemond Kutsidzo:
Music and Wellbeing in Everyday Life in Ghana: An Exploratory Study.
Legon Journal of the Humanities (Legon), Vol. 27, No. 2, 2016: 29-46.

Chernoff, John Miller:
Africa Come Back. The Popular Music of West Africa.
in: Haydon, Geoffrey & Marks, Dennis (eds.):
Repercussions. A Celebration of African-American Music.
London: Century Publishing, 1985: 152-186.

Clark, Msia Kibona:
Hip Hop as Social Commentary in Accra and Dar es Salaam.
African Studies Quarterly (Gainesville, Fla.), Vol. 13, Issue 3, 2012: 23-46.

Coester, Markus:
Desilencing Diasporic Memory/ies in Knowledge Production on Highlife.
African and Black Diaspora: An International Journal (Abingdon), Vol. 1, Issue 1, 2008: 73-86.

Coester, Markus:
Highlife transnational: Moderne westafrikanische Populärmusik 1950-1965.
in: Leggewie, Claus & Erik Meyer (Herg.):
Globale Pop. Das Buch zur Weltmusik.
Stuttgart: J. B. Metzler Verlag, 2017: 290-298.

Cole, Catherine M.:
‘This Is Actually a Good Interpretation of Modern Civilisation’:
Popular Theatre and the Social Imaginary in Ghana, 1946-66.
Africa (London), Vol. 67, No. 3, 1997: 363-388.

Collins, E[dmund] J[ohn]:
Comic Opera in Ghana.
African Arts (Los Angeles, Calif.), Vol. 9, No. 2, January 1976: 50-57.
Reprint
in: Priebe, Richard K. (ed.):
Ghanaian Literatures.
Contributions in Afro-American and African Studies Series, No. 120.
New York, N.Y., Westport, Conn. & London: Greenwood Press, 1988: 61-72.

Collins, E[dmund] J[ohn]:
Ghanaian Highlife.
African Arts (Los Angeles, Calif.), Vol. 10, No. 1, October 1976: 62-68 & 100.

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

Collins, [Edmund] John:
Civilian Rule and Ghana’s Music.
West Africa (London), 13 April 1981: 805-806.

Collins, [Edmund] John:
Is Ghana Taking a Back Seat?
Africa Music (London), No. 1, January-February 1981: 13-14 & 38.

Collins, [Edmund] John:
Cultural Revolution in Ghana. [On musicians’ union].
West Africa (London), 13 December 1982: 3208-3209 & 3211-3212.

Collins, [Edmund] John:
Ghana’s Cultural revolution.
Conversation with Asiedu Yirenkyi, the New Minister of Culture and Tourism.
Africa Now (London), No. 19, November 1982: 72.

Collins, [Edmund] John:
Highlife’s Sensational Handshake.
New African (London), No. 192, September 1983: 48.

Collins, [Edmund] John:
The Man who Made Traditional Music. [Otoo Lincoln].
West Africa (London), 19/26 December 1983: 2946.

Collins, [Edmund] John:
The Young are Reviving Ghana’s Music.
West Africa (London), 19/26 December 1983: 2943-2945.

Collins, [Edmund] John:
Ghana’s First lady of Music.
[Interview with Dinah Reindorf].
New African (London), No. 202, July 1984: 43.

Collins, [Edmund] John:
Kobina Okine, 63 – Ghana’s Musical Giant Dies.
New African (London), No. 215, August 1985: 41.

Collins, [Edmund] John:
The Concert Party in Ghana.
Musical Traditions (Rochford, Essex), No. 4, Early 1985: 37-39.

Collins, [Edmund] John:
Highlife & Prophecy.
The Reggae & African Beat (Calif.), Vol 5, No. 2, 1986.

Collins, [Edmund] John:
Running a Band, a Music Studio and Music Archives in Ghana.
in: Kvifte, Tellef & Gunnar Ternhag (eds):
Proceedings of the Workshop and Conference on Regional Audio-Visual Archives,
AVA-90, Falun, Sweden, July 5–11, 1990.
Falun: Dalarna Research Council & Oslo: Norwegian Collection of Folk Music,
Department of Music and Theater Studies, University of Oslo, 1990: 9-19.

Collins, E[dmund] J[ohn]:
The Concert Party:  Popular Entertainment and the Ghanaian School Syllabus.
in: Boeren, Ad & Kees Epskamp (eds.):
The Empowerment of Culture: Development Communication and Popular Media.
The Hague: Centre for the Study of Education in Developing countries (CESO),
CESO Publications No. 17, 1992, pp. 171-177.

Collins, [Edmund] John:
The Ghanaian Concert Party.
Glendora Review: African Quarterly on the Arts (Ikoyi, Lagos), Vol. 1 No. 4 1996: 85-88.

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 Generational Factor in Ghanaian Music.
Concert Parties, Highlife, Simpa, Kpanlogo, Gospel and Local Techno-Pop.
in: Palmberg, Mai & Annemette Kirkegaard (eds.):
Playing with Identities in Contemporary Music in Africa.
Uppsala: Nordiska Afrikainstitutet, 2002: 60-74.

Collins, [Edmund] John:
Ghanaian Women Enter into Popular Entertainment.
Humanities Review Journal (Ile-Ife), Vol. 3, No.1, June 2003: 1-10.

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:
Ghanaian Christianity and Popular Entertainment: Full Circle.
History in Africa (Cambridge), Vol. 31, 2004: 407-423.

Collins, [Edmund] John:
Ghanaian Popular Performance and the Urbanisation Process: 1900-1980.
Transactions of the Historical Society of Ghana (Legon), New Series, No, 8, 2004: 203-226.

Collins, [Edmund] John:
Urban Anxiety and its Sonic Response: Narrating Ghanaian Gospel-Highlife.
Glendora Review: African Quarterly on the Arts (Lagos), Vol. 3, No. 3-4, 2004: 23-28.

Collins, [Edmund] John:
A Social History of Ghanaian Popular Entertainment since Independence.
Transactions of the Historical Society of Ghana (Legon), New Series, No. 9, 2005: 17–40.

Collins, [Edmund] John:
The Decolonisation of Ghanaian Popular Entertainment.
in: Falola, Toyin & Steven J. Salm (eds):
Urbanization and African Cultures.
Durham, N.C.: Carolina Academic Press, 2005: 119-137.

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.

Collins, [Edmund] John:
One Hundred Years of Censorship in Ghanaian Popular Music Performance.
in: Drewett, Michael & Martin Cloonan (eds.):
Popular Music Censorship in Africa.
Aldershot: Ashgate, 2006: 171-186.

Collins, [Edmund] John:
Popular Performance and Culture in Ghana: The Past 50 Years.
Ghana Studies Journal (Madison, Wis.), Vol. 10, 2007: 9-64.

Collins, [Edmund] John:
The Entrance of Women into Ghanaian Popular Entertainment.
in: Adams, Anne V. & Esi Sutherland-Addy (eds.):
The Legacy of Efua Sutherland. Pan African Cultural Activism.
Banbury, Oxfordshire: Ayebia Clark Publishing Ltd, 2007: 47-54.

Collins, [Edmund] John:
The Pan-African Goombay Drum-Dance: Its Ramifications and Development in Ghana.
Legon Journal of the Humanities (Legon), Vol. 18, 2007: 179-200.

Collins, [Edmund] John:
Ghana and the World Music Boom.
Popular Music History (Sheffield), Vol. 3, No. 3, 2008: 275-294.
Reprint
In: Pietilä, Tuulikki (ed.):
World Music: Roots and Routes.
Helsinki: Helsinki Collegium for Advanced Studies, 2009: 57-75.

Collins, [Edmund] John:
A Century of Changing Locations of Ghanaian Commercial Popular Entertainment Venues.
in: Fourchard, Laurent ; Odile Goerg & Muriel Gomez-Perez (dir.):
Lieux de sociabilité urbaine en Afrique.
Paris: L’Harmattan, 2009: 225-252.

Collins, [Edmund] John:
Popular Dance Music and the Media.
in: Njogu, Kimani & John Middleton (eds.):
Media and Identity in Africa.
Edinburgh: Edinburgh University Press, 2009: 162-170.

Collins, [Edmund] John:
Highlife and Nkrumah’s Independence Ethos.
Journal of Performing Arts (Legon), Vol. 4, No. 1, 2009/2010: 82-91.

Collins, [Edmund] John:
Popularmusikens generationsvaxling – Exemplet Ghana.
in: Palmberg, Mai & Carita Bäckström (red.):
Kultur i Afrika. Ett annorlunda möte med Afrika genom dess samtida konst och kultur.
Stockholm: Bokförlaget Tranan, 2010: 44-53.

Collins, [Edmund] John:
World Music: A Stimulus to Ghanaian Tourism, Education and ‘Cross-Over” Musical  Collaborations.
The Journal of Performing Arts (Legon), Vol. 4, No. 2, 2011: 61-67.

Collins, [Edmund] John:
Contemporary Ghanaian Popular Music since the 1980s.
in: Charry, Eric (ed.):
Hip Hop Africa. New African Music in a Globalizing World.
Bloomington, Ind.: Indiana University Press, 2012: 211-233.

Collins, [Edmund] John:
The Ghanaian and Nigerian Gospel Music Explosion.
The Journal of Performing Arts (Legon), Vol. 4, No. 4, 2013/14: 115-131.

Collins, [Edmund] John:
Ghanaian Popular Performance: A Century of Changing Urban Spaces, Venues and Identities.
in: Asiedu, Awo Mana; E[dmund] John Collins; Francis Gbormittah & Francis Nii-Yartey (eds.):
The Performing Arts in Africa: Ghanaian Perspectives.
Banbury, Oxfordshire: Ayebia Clarke Publishing, 2014: 43-57.

Collins, [Edmund] John:
Popular Performance and Culture in Ghana: The Past 50 Years.
Ghana Studies (Madison, Wis,), Volume 20, 2017: 175-219.

Collins, [Edmund] John:
Bokoor African Popular Music Archives Foundation:
Ghana’s Highlife Music Institute and the Need for Popular Music Archiving.
in: Baker, Sarah (ed.):
Preserving Popular Music Heritage.
New York, N.Y.: Routledge, 2015: 185-192.

Coplan, David [Bellin]:
Go to My Town, Cape Coast! The Social History of Ghanaian Highlife.
in: Nettl, Bruno (ed.):
Eight Urban Music Cultures. Tradition and Change.
Urbana, Ill.: University of Illinois Press: 1978: 96-114.

Doe, Eric Sunu:
The Origin and Development of “Burger” Highlife Music in Ghana.
Journal of Performing Arts (Legon), Vol. 4, No. 4, 2013/14: 133-145.

Ephson, Ben:
Out on the Town. The Nightspots of Accra.
West Africa (London), 22/29 December 1986: 2655-2656.

Flaes, Rob Boonzajer:
Hoofdstuk De trommel en de bazuin – Ghana.
Bewogen koper: van koloniale kapel tot wereldblaasorkest.
Amsterdam: De Balie / ’s-Gravenhage: Novib, 1993, 28-47.
English edition
Chapter Drums versus trombones – Ghana.
Brass Unbound. Secret Children of the Colonial Brass Band.
Amsterdam: Royal Tropical Institute, 2000: 32-57.

Fosu-Mensah, Kwabena:
Everlasting Hi-Life.
West Africa (London), 5 March 1984: 497 & 499.

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

Fosu-Mensah, Kwabena:
All for You, E.T.  The Story of E.T. Mensah,
Proclaimed King of Highlife by his Fans throughout West Africa.
West Africa (London), 20 October 1986: Front cover & 2214-2215.

Fosu-Mensah, Kwabena:
Obituary. The Whitty Songwriter. [Moses Kweku Oppong aka. Kakaiku].
West Africa (London), 20 October 1986: 2215-2216.

Garland, Phyl:
Soul to Soul: Music Festival in Ghana Links Black Music to Its Roots.
Ebony (Chicago, Ill.), June 1971: 78-89.

Geest, Sjaak van der:
The Image of Death in Akan Highlife Songs of Ghana.
Research in African Literatures (Austin, Tex.), Vol. 11, No. 2, Summer 1980: 145-174.

Geest, Sjaak van der & Nimrod K. Asante-Darko:
The Political Meaning of Highlife Songs in Ghana.
African Studies Review (Los Angeles, Calif.), Vol. 25, No. 1, March 1982: 27-35.

Geest, Sjaak van der:
Death, Chaos, and Highlife Songs: A Reply.
Research in African Literatures (Austin, Tex.), Vol. 15, No. 4, Winter 1984: 583-588.

Geest, Sjaak van der:
Orphans in Highlife: An Anthropological Interpretation.
History in Africa (Cambridge), Vol. 31, 2004: 425-440.

Geest, Sjaak van der:
‘Anyway’. Cars and Highlife in Ghana: Inscriptions and means of transport.
in: Gewald, Jan-Bart; Sabine Luning & Klaas van Walraven (eds.)
The speed of change: Motor vehicles and people in Africa, 1890 – 2000.
Leiden & Boston, Mass.: Brill, 2009: 253-293.

Graham, Ronnie:
Chapter 3 Ghana.
Stern’s Guide to Contemporary African Music.
London: Zwan / Off the Record Press, 1988: 74-104.

Graham, Ronnie:
Chapter 3 Ghana.
The World of African Music. Stern’s Guide to Contemporary African Music. Volume 2.
Chicago, Ill.: Pluto Press: 1992: 31-41.

Graham, Ronnie & [Edmund] John Collins:
Ghana From Highlife to Hiplife.
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: 123-135.

Hampton, Barbara L:
Towards a Theory of Transformation in African Music.
in: Robinson, Pearl T. & Elliot P. Skinner (eds.):
Transformation and Resiliency in Africa.
Washington, D.C.: Howard University Press, 1983: 211-229.

Hanna, Judith Lynne:
The Highlife: A West African Urban Dance.
in: Rowe, Patricia A.  & Ernestine Stodelle (eds.):
Dance Research Monograph 1.
New York, N. Y.: Committee on Research in Dance, 1973: 138-152.
Reprint
in: van Zile, J. (ed.):
Dance in Africa, Asia and the Pacific. Selected Readings.
New York, N.Y.: MSS Information Corporation, 1976: 164-177.

Kaye, Andrew L[aurence]:
Koo Nimo: A Contemporary Ghanaian Musician.
Africa Music (Grahamstown), Vol. 7, No. 4, 1999: 147-165.

Kedjanyi, J.:
Masquerading Societies in Ghana.
Research Review (Legon), Vol. 3, No. 2, 1967: 51-57.

Kinney, Esi Sylvia:
Urban West African Music and Dance.
African Urban Notes (East Lansing, Mich.), Vol. 5, No. 4, Winter 1970: 3-10.

Korley, Nii Laryea:
The Passing of a Giant. [Kwabena Okai].
West Africa (London), 24 June 1985: 1271-1272.

Korley, Nii Laryea:
‘Burger’ Highlife.
West Africa (London), 26 May 1986: 1114.

Korley, Nii Laryea:
A Musical Exodus.
West Africa (London), 30 March 1987: 606-608.

Korley, Nii Laryea:
Rootsy Sun-Life. [On highlife lyrics].
West Africa (London), 2 March 1987: 421-422.

Ladzekpo, Kobla & Elder, Alan:
Agahu: Music Across Many Nations.
in: DjeDje, Jacqueline Cogdell (ed.): African Musicology: Current Trends, Vol. 2.
A Festschrift Presented to J. H. Kwabena Nketia.
Los Angeles (Calif.): International Studies and Overseas Program (ISOP) /
The James S. Coleman African Studies Center, University of California, Los Angeles.
Crossroads Press / African Studies Association, 1992: 181-190.

Lang, Iain:
Jazz Comes Home to Africa.
West African Review (Liverpool), Vol. 27, No. 351, December 1956: 1088-1090.

Matthews, Chris:
Defying Tradition: Ghana’s Dark Suburb are Facing Down Charges of Being a
Demonic Influence while Entertaining Audiences with their Brand of Heavy Metal.
New African (London), No. 560, April 2016: 72.

Mbachu, Dulue:
‘Pieces’ for the Masses.
The Spread of Ghanaian Music in Nigeria.
West Africa (London), 9 May 1988: 837.

Mensah, Atta Annan:
The Impact of Western Music on the Musical Traditions of Ghana.
Composer (London), No. 19, Spring 1966: 19-22.

Mensah, Atta Annan:
The Popular Song and the Ghanaian Writer.
Okyeame [Ghana’s Literary Magazine] (Legon), Vol. 4, No. 1, December 1968: 110-119.

Mensah, Atta [Annan]:
Highlife.
The New Grove Dictionary of Music and Musicians, Vol. 8.
London: Macmillan Publishers, 1980: 550-551.

Moore, Sylvia:
Social Identity in Popular Mass Media Music. Examples include Osibisa.
in: Horn, David & Philip Tagg (eds.):
Popular Music Perspectives.
Papers from The First International Conference on Popular Music Research, Amsterdam, June 1981.
Göteborg & Exeter: IASPM, 1982: 196-222.

Nartey, Mark:
Representations of Politicians in Contemporary Ghanaian Hiplife Music.
CLCWeb: Comparative Literature and Culture (West Lafayette, Ind.),
Vol. 17, Issue 4, December 2015: Article 4. 7 p.

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.

Nketia, J[oseph] H[anson Kwabena]:
Modern trends in Ghana Music.
African Music (Roodepoort), Vol. 1, No. 4, 1957: 13-17.

Nketia, J[oseph] H[anson Kwabena]:
Changing Traditions of Folk Music in Ghana.
Journal of the International Folk Music Council (London), Vol. 11, 1959: 31-36.

Obeng, Samuel Gyasi:
Speaking the Unspeakable Through Hiplife:
A Discursive Construction of Ghanaian Political Discourse.
in: Falola, Toyin & Tyler Fleming (eds.):
Music, Performance and African Identities.
New York, N.Y.: Routledge, 2012: 296-315.

Odamtten, Harry Nii Koney:
Hip-Hop Speaks, Hip-Life Answers: Global African Music.
in: Soucier, P[aul] Khalil (ed.):
Native Tongues. An African Hip-Hop Reader.
Trenton, N.J.: Africa World Press, 2011: 147-177.

Oduro-Frimpong, Joseph:
Glocalization Trends: The Case of Hiplife Music in Contemporary Ghana.
International Journal of Communication (Annenberg, Calif.), Vol. 3, 2009: 1085-1106.

Okuda, Alison K.:
Performing Ghana: the Politics of Being a Black Woman on the Stage, 1966-1979.
African and Black Diaspora: An International Journal (Abingdon), 2018.

Osumare, Halifu:
Becoming a “Society of the Spectacle”: Ghanaian Hiplife Music and Corporate Recolonization.
Popular Music and Society (Abingdon), Vol. 37, Issue 2, 2014: 187-209.

Otchere, Eric D. & Florian Carl:
On the Music Preferences of Ghanaian Undergraduate Students: A Word or Two.
Journal of the Pan African Society for Musical Arts Education (PASMAE),
West Africa Sub-Region, Vol. 3, No. 1, 2016: 75-93.

Phyfferoen, Dominik; Koenraad Stroeken & Marc Leman:
The Hiplife Zone. Cultural Transfromation Processes in African
Music Seen from the Angle of Embodied Music Interactions.
in: Lasaffre, Micheline; Pieter-Jan Maes & Marc Leman (eds.):
The Routledge Companion to Embodied Music Interaction.
New York, N.Y. & London: Routledge, 2017: 232-240.

Plageman,  Nate:
Retuning Imperial Intentions.
The Gold Coast Police Band, West African Students, and a 1947 Tour of Great Britain.
Ghana Studies (Madison, Wis,), Volume 20, 2017: 111-139.

Quarcoo, Millicent; Evershed Kwasi Amuzu & Pokua Owusu:
Codeswitching as a Means and a Message in Hiplife Music in Ghana.
Contemporary Journal of African Studies (Pretoria), Vol. 2, No. 2, 2014: 1-32.

Quashie, Harry:
‘Cause I Dey Laugh?’
in: Cunard, Nancy (ed.):  Negro Anthology.
London: Nancy Cunard at Wishart & Co., 1934: 410-412.

Salamone, Frank A.:
Crossing Artistic Symbolic Boundaries: Nigeria and Ghana.
Africa: Rivista trimestrale di studi e documentazione (Roma), Anno 52, n. 1, 1997: 62-80.

Salamone, Frank A.:
Nigerian and Ghanaian Popular Music: Two Varieties of Creolization.
Journal of Popular Culture (East Lansing, Mich.), Vol. 32, Issue 2, Fall 1998: 11-25.

Salm, Steven J[ames] & Toyin Falola:
Chapter Music and Dance.
Culture and Customs of Ghana.
Westport, Conn.:  Greenwood Publishing Group, 2002: 167-192.

Salm, Steven J[ames]:
Rain or Shine We Gonna “Rock“: Dance Subcultures and Identity Construction in Accra, Ghana.
in: Falola, Toyin & Christian Jennings (eds.):
Sources and Methods in African History: Spoken, Written, Unearthed.
Rochester, N.Y.: University of Rochester Press, 2003: 361-375.

Sandon, Emma:
Cinema and Highlife in the Gold Coast: The Boy Kumasenu (1952).
Social Dynamics (Cape Town), Vol. 39, Issue 3, 2013: 496-519.

Sarpong, Kwame:
Ghana’s Highlife Music:
A Digital Repertoire of Recordings and Pop Art at the Gramophone Records Museum.
History in Africa (Cambridge), Vol. 31, 2004: 455-461.

Schmidt, Cynthia:
An Interview with John Collins on Cultural Policy, Folklore and the Recording Industry in Ghana.
The World of Music (Berlin), Vol. 36, No.2, 1994: 138-147.

Senah, E. Kwaku:
Something-thing Stirs. The Popular Bands of Ga-Accra.
West Africa (London), 16 February 1987: 314-316.

Shipley, Jesse Weaver:
Aesthetic of the Entrepreneur: Afro-Cosmopolitan Rap and Moral Circulation in Accra, Ghana.
Anthropological Quarterly (Washington, D.C.), Vol. 82, No. 3, 2009: 631-668.

Shipley, Jesse Weaver:
The Birth of Ghanaian Hiplife: Urban Style, Black Thought, Proverbial Speech.
in: Charry, Eric (ed.):
Hip Hop Africa. New African Music in a Globalizing World.
Bloomington, Ind.: Indiana University Press, 2012: 29-56.

Shipley, Jesse Weaver:
Transnational Circulation and Digital Fatigue in Ghana’s Azonto Dance Craze.
American Ethnologist (Arlington, Va.), Vol. 40, No. 10, 2013: 362–381.

Smiley, Ken:
Satchmo Sends ‘em in Accra.
Louis Armstrong’s Three-Day Jam Session has the Whole Town Rocking.
West African Review (Liverpool), Vol. 27, No. 346, July 1956: 638-645.

Sprigge, Robert G. S.:
The Ghanaian Highlife: Notations and Sources.
Music in Ghana (Achimota), Vol. 2, May 1961: 70-94.

Stewart, Gary:
E.T. Mensah: King of Highlife.
The Reggae & African Beat (Los Angeles, Calif.), Vol. 6, No. 1, 1987: 32-33.

Stewart, Gary:
Native Spirit. [Herman Asafo-Agyei; Alfred “Kari” Bannerman & Mac Bessa-Simons]
The Beat (Los Angeles, Calif.), Vol. 8, No. 4, 1989: 21-22.

Tsukada, Kenichi:
Highlife and Fontomfrom.
Journal of African Studies (Kyoto), Vol. 2002, Issue 60, 2002: 41-52.

Tsukada, Kenichi:
Cultural Policy and ‘Copyright’: Nkrumah and Fante Music in Postcolonial Ghana.
in: Kawada, Junzō & Kenechi Tsukada (dir.) :
Cultures sonores d’Afrique III.
Hiroshima: Hiroshima City University, 2004: 27-52.

Veen, Ed.:
Guy Warren: Enigma of Jazz.
West African Review (Liverpool), Vol. 28, No. 356 [should read 357], June 1957: 612-613.

Ward, W[illiam] E[rnest Frank]:
Music in the Gold Coast.
Gold Coast Review (London), Vol. 3, No. 2, July-December 1927: 199-223.
Reprint
Musical Times (London), Vol. 73, 1932: [September] 707-710, 797-799 & [October] 901-902.

Webb, Gavin:
“Ma la ma wie Ga”: (“I will sing and speak Ga”):
Wulomei and the Articulations of Ga Identity in Stylized Form.
African Music (Grahamstown), Vol. 10, No. 1, 2015: 52-83.

Wilmer, Valerie:
Souled Out in Ghana.
Down Beat (Chicago, Ill.), 18th February 1971: 14-15.

Yankah, Kwesi:
The Akan Highlife Song: A Medium of Cultural Reflection or Deflection?
Research in African Literatures (Austin, Tex.), Vol. 15, No. 4, 1984: 568-582.

Yankah, Kwesi:
The Future of Highlife.
Glendora Review: African Quarterly on the Arts (Lagos), Vol. 1 No. 3, 1996: 108-110.

Yankah, Kwesi:
Nana Ampadu, the Sung-Tale Metaphor, and Protest Discourse in Contemporary Ghana.
in: Adjaye, Joseph K. & Adrienne R. Andrews (eds.):
Language, Rhythm, and Sound: Black Popular Cultures into the Twenty-first Century.
Pittsburgh, Penn.: University of Pittsburgh Press, 1997: 54-73.
Reprint
in: White,‎ Luise S.; Stephan F. Miescher & David William Cohen (eds.):
African Words, African Voices: Critical Practices in Oral History.
Bloomington, Ind.: Indiana University Press, 2001: 227-245.

Yeboah-Afari, Ajoa:
Music of Ghana’s History. On Faisal Helwani’s Film Roots of Highlife.
West Africa (London), 29 February 1988: 361-362.

Yun, Seo-Young:
Hybridity of Ghanaian Popular Music: Focused on Hiplife.
Asian Journal of African Studies (Seoul), Vol. 37, February 2015: 31-50.