Songs from the Akwa Ibom and Cross River states of Nigeria

Kwami, Robert

doi:10.1080/09544169208717752

Cited by 5 publications

(6 citation statements)

References 8 publications

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“…Mus Ex. 13) as well as the following: Kwami, 1989Kwami, & 1992. In the Utom ete nnyin ikut (The work of our father tortoise) work song, cited earlier, the teacher can perform the calls while pupils respond, possibly with claps on the beat.…”

Section: A Musical Approachmentioning

confidence: 99%

“…In foreign contexts, the performance of such musics, even if it does not meet with some resistance, may lose much of its social significance and meaning. As I have argued elsewhere (see Kwami, 1989Kwami, , 1992, it may be advisable to limit such musics to their assigned communal contexts.…”

Section: Cultural Accessibility and The Curriculummentioning

confidence: 99%

“…Kwami, 1989Kwami, & 1991c can be analysed (cf. Kwami, 1989Kwami, & 1992, with opportunities for pupils and students to engage in analysis, criticism, reinterpretation and 're-creation' along the lines advocated by Swanwick (1988). This would entail listening to the songs and appraising them, and could lead to a performance of some of the songs, before pupils are asked to create their own versions of African vocal music.…”

Section: Cultural Accessibility and The Curriculummentioning

confidence: 99%

“…As I have hinted earlier (cf. Kwami, 1989Kwami, & 1992, we may need to be culturally sensitive; omitting musical examples in the classroom can prevent giving offence.…”

Section: A Musical Approachmentioning

confidence: 99%

“…Band 5 includes traditional musics such as Agbadza (cf. Jones, 1959;Kwami, 1989;Wiggins, 19916;& Kwami, 1992& Kwami, & 1994 Gota (see Anku, 1988;& Wiggins, 1991a& Wiggins, & 1993 and Agbeko (see Fiagbedzi, 1977 andLocke, 1978). The Agbadza example given earlier (Mus.…”

Section: A Musical Approachmentioning

confidence: 99%

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A Framework for Teaching West African Musics in Schools and Colleges

Kwami¹

1995

Brit. J. Music. Ed.

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Existing classifications of West African musics seem to have a limited applicability as models for music education in schools and colleges. Hence, a more comprehensive classification, highlighting a range of syncretic forms, is merged with a structure in Ghanaian drum ensembles to yield a sequential, two dimensional, model. It is then argued that the model can be used as a framework for teaching West African musics in primary, secondary and tertiary educational institutions. A more general discussion is followed by an integrated arts application; finally, a musical perspective, including compositions by the present writer, is presented.

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Section: A Musical Approachmentioning

confidence: 99%

Section: Cultural Accessibility and The Curriculummentioning

confidence: 99%

Section: Cultural Accessibility and The Curriculummentioning

confidence: 99%

“…As I have hinted earlier (cf. Kwami, 1989Kwami, & 1992, we may need to be culturally sensitive; omitting musical examples in the classroom can prevent giving offence.…”

Section: A Musical Approachmentioning

confidence: 99%

Section: A Musical Approachmentioning

confidence: 99%

See 3 more Smart Citations