This article is a collaborative effort between a Ugandan scholar specialising in theatre studies and currently teaching in the United Kingdom and a British ethnomusicologist who taught in Uganda during the 1960s and has since maintained his musical research interests there. Firstly we present a composite view of musical life in Uganda. Later in the paper we present our own separate ideas (even where they overlap)
“MAZUVA EKUPEDZISA” by Abraham Maraire. (Old Umtali, Rhodesia) During the year an innovation in reli...
This article explores the ways in which musical practices have become a site for the enactment of pa...
Two years ago, through the generosity of the Rockefeller Foundation, I was given the opportunity of ...
I visited many parts of Uganda, with the exception of West Nile, and almost everywhere I was struck ...
We recorded several pan-pipe ensembles (EnkwanyJ) formed by rather young people in all sorts of soci...
BOOK REVIEW African musics in context: institutions, culture, identity, edited by Thomas Solomon, Ka...
Very little academic research has been carried out into the rich and varied musical traditions of th...
A promising new development in American studies of African music was initiated recently when a six-w...
Extract from letter from Mr. Owen Barton of the Ministry of Culture and Community Development, P.O. ...
This thesis focuses on popular music in the “New Rwanda” (Rwanda Rushya). It starts from life on the...
Historically, traditional music in Africa was attributed to the collective society and not to indivi...
This article looks at how the paradigm of ethnicity in Uganda has influenced the conception and perc...
Music is often cited as a central artistic mode in African theatre and performance practices. Howeve...
This article examines the utility and significance of music performed on 19th- century caravans jour...
Interesting details of the construction of a Rongo xylophone in the Sudan has been sent us by Mr. Da...
“MAZUVA EKUPEDZISA” by Abraham Maraire. (Old Umtali, Rhodesia) During the year an innovation in reli...
This article explores the ways in which musical practices have become a site for the enactment of pa...
Two years ago, through the generosity of the Rockefeller Foundation, I was given the opportunity of ...
I visited many parts of Uganda, with the exception of West Nile, and almost everywhere I was struck ...
We recorded several pan-pipe ensembles (EnkwanyJ) formed by rather young people in all sorts of soci...
BOOK REVIEW African musics in context: institutions, culture, identity, edited by Thomas Solomon, Ka...
Very little academic research has been carried out into the rich and varied musical traditions of th...
A promising new development in American studies of African music was initiated recently when a six-w...
Extract from letter from Mr. Owen Barton of the Ministry of Culture and Community Development, P.O. ...
This thesis focuses on popular music in the “New Rwanda” (Rwanda Rushya). It starts from life on the...
Historically, traditional music in Africa was attributed to the collective society and not to indivi...
This article looks at how the paradigm of ethnicity in Uganda has influenced the conception and perc...
Music is often cited as a central artistic mode in African theatre and performance practices. Howeve...
This article examines the utility and significance of music performed on 19th- century caravans jour...
Interesting details of the construction of a Rongo xylophone in the Sudan has been sent us by Mr. Da...
“MAZUVA EKUPEDZISA” by Abraham Maraire. (Old Umtali, Rhodesia) During the year an innovation in reli...
This article explores the ways in which musical practices have become a site for the enactment of pa...
Two years ago, through the generosity of the Rockefeller Foundation, I was given the opportunity of ...