A promising new development in American studies of African music was initiated recently when a six-week “Seminar in African Music and Art†organised by Manhattanville and Briarville Colleges, New York State, was held in West Africa in July-August 1969, led by Prof. Nicholas England, Hewitt Pantaleoni (whose article appears in this issue) and Mr. Seth Ladzekpo
For many years it has been felt that one of the more important advances in African cultural affairs ...
The highlights of our concert activities in June 1984 were the second invitation to three former Bug...
“MAZUVA EKUPEDZISA” by Abraham Maraire. (Old Umtali, Rhodesia) During the year an innovation in reli...
Interesting details of the construction of a Rongo xylophone in the Sudan has been sent us by Mr. Da...
Extract from letter from Mr. Owen Barton of the Ministry of Culture and Community Development, P.O. ...
I visited many parts of Uganda, with the exception of West Nile, and almost everywhere I was struck ...
Four years ago, only one performer on the Marimba (African Xylophone) could be found in the Bulawayo...
Two years ago, through the generosity of the Rockefeller Foundation, I was given the opportunity of ...
In “African Music”, volume 1, No. 3, I wrote, “When one true African Christian musician is brought t...
This article is a collaborative effort between a Ugandan scholar specialising in theatre studies and...
A paper presented to the Music Section of the Commonwealth Arts Festival Conference — Liverpool Univ...
After my short experience of work amongst African people in Nyasaland—because I admit that 14 years ...
Of all the arts in Africa music is perhaps the most widely spread, the most narrowly subdued, and th...
Kwanongoma - the Place of Music - was opened in 1961 for the purpose of training African musicians a...
The University of California at Berkeley offered a four-week extension course entitled “Africa: its ...
For many years it has been felt that one of the more important advances in African cultural affairs ...
The highlights of our concert activities in June 1984 were the second invitation to three former Bug...
“MAZUVA EKUPEDZISA” by Abraham Maraire. (Old Umtali, Rhodesia) During the year an innovation in reli...
Interesting details of the construction of a Rongo xylophone in the Sudan has been sent us by Mr. Da...
Extract from letter from Mr. Owen Barton of the Ministry of Culture and Community Development, P.O. ...
I visited many parts of Uganda, with the exception of West Nile, and almost everywhere I was struck ...
Four years ago, only one performer on the Marimba (African Xylophone) could be found in the Bulawayo...
Two years ago, through the generosity of the Rockefeller Foundation, I was given the opportunity of ...
In “African Music”, volume 1, No. 3, I wrote, “When one true African Christian musician is brought t...
This article is a collaborative effort between a Ugandan scholar specialising in theatre studies and...
A paper presented to the Music Section of the Commonwealth Arts Festival Conference — Liverpool Univ...
After my short experience of work amongst African people in Nyasaland—because I admit that 14 years ...
Of all the arts in Africa music is perhaps the most widely spread, the most narrowly subdued, and th...
Kwanongoma - the Place of Music - was opened in 1961 for the purpose of training African musicians a...
The University of California at Berkeley offered a four-week extension course entitled “Africa: its ...
For many years it has been felt that one of the more important advances in African cultural affairs ...
The highlights of our concert activities in June 1984 were the second invitation to three former Bug...
“MAZUVA EKUPEDZISA” by Abraham Maraire. (Old Umtali, Rhodesia) During the year an innovation in reli...
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