If it is conceded that modern forms of African Music deserve the interest of the musicologist we must accept the arrangements by de Paur of the songs from Ghana, Nigeria, and Kenya which almost fill the first side of the disc. The music is in no other way different from that which has been made known throughout the world by Keita Fodeba’s “Ballets Africainesâ€. In fact, on side two we find mainly music from the Senegal which seems to be performed by Fordeba’s ensemble
There are two standpoints from which to survey African music. One is the impressionist point of view...
With the steady increase in the number of persons in Africa who own and operate small recording mach...
A disc of recordings made by Father Tempels from 1944 to 1950, with musicological notes by Jos Ganse...
This well recorded L.P. is also the product of a filming team in Africa. With less crew and less dol...
This is a selection from “the many hours of music†recorded by the “Africa Project†teams of t...
This disc of regional documentations is recorded by Simka Arom during research carried out for the D...
Boris Konietzko, a dealer in African Arts and Artefacts, has spent many years travelling in Africa. ...
What is most striking about the whole disc are the many similarities in style of the non-liturgical ...
The advent of a series of this nature is warmly to be welcomed. The selection of Swazi songs is as r...
The items featured include music from ten different tribes within the Republique Centrafricaine, mos...
The key fact in the Bantu record industry is that there are no key facts such as enable experts on t...
This paper introduces a unique collection of roughly 700 historical recordings of African popular mu...
On the 6th April, 1967, SAFMA (The South African Folk Music Association), held a concert at the Selb...
Some first-class music recorded in Burundi in April/May, 1967, by Michel Vuylsteke, and reproduced w...
Through the kindness and invitation of the Resident Commissioner of Swaziland, Mr. Brian Marwick, th...
There are two standpoints from which to survey African music. One is the impressionist point of view...
With the steady increase in the number of persons in Africa who own and operate small recording mach...
A disc of recordings made by Father Tempels from 1944 to 1950, with musicological notes by Jos Ganse...
This well recorded L.P. is also the product of a filming team in Africa. With less crew and less dol...
This is a selection from “the many hours of music†recorded by the “Africa Project†teams of t...
This disc of regional documentations is recorded by Simka Arom during research carried out for the D...
Boris Konietzko, a dealer in African Arts and Artefacts, has spent many years travelling in Africa. ...
What is most striking about the whole disc are the many similarities in style of the non-liturgical ...
The advent of a series of this nature is warmly to be welcomed. The selection of Swazi songs is as r...
The items featured include music from ten different tribes within the Republique Centrafricaine, mos...
The key fact in the Bantu record industry is that there are no key facts such as enable experts on t...
This paper introduces a unique collection of roughly 700 historical recordings of African popular mu...
On the 6th April, 1967, SAFMA (The South African Folk Music Association), held a concert at the Selb...
Some first-class music recorded in Burundi in April/May, 1967, by Michel Vuylsteke, and reproduced w...
Through the kindness and invitation of the Resident Commissioner of Swaziland, Mr. Brian Marwick, th...
There are two standpoints from which to survey African music. One is the impressionist point of view...
With the steady increase in the number of persons in Africa who own and operate small recording mach...
A disc of recordings made by Father Tempels from 1944 to 1950, with musicological notes by Jos Ganse...