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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.:
The Political Relevance of Ghanaian Highlife Songs since 1957.
Journal of Musicology (Oakland, Calif.), Vol. 5, No. 3, 1979: 400-418.

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.

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.

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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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  • 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:
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    Arles: Actes Sud, 1997. 203 p.

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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

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    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 

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