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91
African Music / Re: FINALLY A STATUE FOR FRANCO IN KINSHASA
« Last post by tutulu on March 05, 2016, 01:37:21 pm »
Who are the other gentlemen standing in the 2nd picture?

I can recognize the Papa Lutumba Simaro Massiya on the fat Left.
92
African Music / Concert
« Last post by tutulu on March 05, 2016, 01:22:56 pm »
This is a must go concert for

anyone not only in Nairobi or Kisumu but in Kenya.

93
African Music / The Beat
« Last post by tutulu on March 05, 2016, 01:18:34 pm »
This article takes one down memory lane.

about Late Peter Wilson Kinyonga's passing.

Simba Wanyika was one of the best bands playing in Nairobi during the heyday of East Africa’s music scene, which also included powerhouse groups such as Les Mangelepa, Orchestra Virunga, and a wealth of others who, now those glory days of the ‘80s and ‘90s have passed, are mostly of interest only to record collectors, music historians, and aficionados of East African rumba.

This feature from The Beat was published in 1993 on the occasion of the death of George Peter Kinyonga, one of two brothers who established the Wanyika dynasty and created some of the best East Africa music ever made. Peter commemorates the life and career of George, and the story of the great Simba Wanyika, enlivened by his personal reminiscences and a discographer’s attention to their convoluted history.

http://www.afropop.org/27833/best-of-the-beat-on-afropop-simba-wanyika/
94
African Music / Giant Artists
« Last post by tutulu on March 05, 2016, 01:03:59 pm »
This is picture of

giants alongside each other

Cameroun's Manu Dibango, Late Dr. Nico Kasanda, Late Roger Izeidi and Late Seigneur Ley.

I do not know if this was when they were all members of Le Grand Kalle's African Jazz.

95
African Music / Re: The Legend
« Last post by tutulu on March 05, 2016, 12:59:04 pm »
This is picture from the article

of The Lokassa et Lucien Bokilo


Lokassa ya M'bongo con sus cantantes durante la rueda de prensa en La Troja de la carrera 44 con calle 74.Foto: Hansel Vásquez
96
African Music / The Legend
« Last post by tutulu on March 05, 2016, 12:57:30 pm »
“Barranquilla es mi nuevo hogar”: Lokassa ya M’bongo

26 de Febrero de 2016
http://www.zonacero.com/?q=sociales%2Fbarranquilla-es-mi-nuevo-hogar-lokassa-ya-mbongo-55334
97
African Music / Re: King is Now Late
« Last post by tutulu on March 05, 2016, 10:59:22 am »
CO BANTOU - MBUE de CHAMPRO KING
https://www.youtube.com/watch?v=xkYz3d50zc4
98
African Music / King is Now Late
« Last post by tutulu on March 05, 2016, 10:58:35 am »
Yaya Champro King - Artist, Singer, Songwriter, Choreographer of Orchestre Co Bantou

died a couple of weeks ago - February 19, 2016 - in Kinshasa.

MHSRIP. Amen

http://www.magazine-ngambo-na-ngambo.eu/miziki-musiques/deces-a-kinshasa-du-chanteur-champro-king-vedette-de-la-rumba-congolaise-annees-60-70-francebelgique-japon-parlent-de-lui/
99
African Music / Re: Objectivity of music
« Last post by Yovo on February 27, 2016, 12:03:55 pm »
I agree with Douglas that this is an interesting topic!

I would like to point out an aspect that hasn't been brought up yet: how do people relate to music that doesn't meet their expectations? Every one of us is raised in a musical environment. There is music all around us, and the more we hear it, the more it is familiar to us. Most people today get to hear American music - rock, hip hop, r'n'b; it can be said that for the western ear this music is our point of reference, more so than classical music. So how do we react to music that deviates from that point of reference, that sounds UNfamiliar?

Listen, for instance, to a Chinese opera. When I first heard one I didn't know what to make of it. The sounds, the way of singing and playing the instruments, every aspect of it sounded totally alien to me. I couldn't discern anything I could relate to, like meter or harmony, things that I expect to hear in music. The only reason I could listen to it was that I KNEW - objectively - that it was "good" music. At least, the liner notes on the album said so! But up to this day I am unable to tell the difference between a well performed or badly performed Chinese opera - the music is still a mystery to me.

Similar things happened when European ears first encountered traditional African music. I have been reading more than one account of early western explorers - Portuguese, British, French, Dutch - and when, or if, they mention music they almost unanimously use words like incongruous, shrill, heathen, or just plain 'noise'. (It is interesting to note that these same words were used when white critics reviewed jazz in the 1920s or rock'n'roll in the 1950's - complete with references to 'wild primitive jungle dances' and sexual allusions.)

It wasn't until the early 20th century that musicologists started to take interest in African music and discovered that it wasn't primitive at all. What to the untrained ear had seemed to be just meaningless noise turned out to be, to the trained ears of science, very sophisticated. And by the time the famous African Ballets of the 1950s began to tour the world, it was the cultural elite that flocked the theaters.

So it seems that the perception of music can change over time. Music that at first baffles us, because it doesn't appear to stick to the rules - it comes with different rhythms, different harmonies, or none at all - can become objectively "good". It becomes part of the cultural canon, just as Stravinsky's Rite of Spring, which was booed and ridiculed in 1913 is now regarded a highly acclaimed masterpiece, and jazz, like Chinese opera, is recognized by Unesco as part of the world's Cultural Heritage.
100
African Music / Re: Objectivity of music
« Last post by soukousman on February 26, 2016, 02:48:07 pm »
This IS an interesting subject.  It seems there are two areas of judgment that are separate but often put together as one.  First there is your subjective feeling towards a piece of music.  You can love it or hate it or be somewhere in between but it is your personal reaction that no one can contradict.  If you love it, it IS good (to you). 
The second area of judgment is in the social sphere.  How do people in groups big or small feel about it?  Do they agree with you that some style or a particular piece of music is good?  The more that people agree, the "better" the music is (from the group's viewpoint.  The Emmys work this way.)  That's a numbers game, a popularity score.

In either case, it's still all subjective.  I don't see any way to objectively rate music the music itself -- only people's reactions to the music.

Now there is software that has analyzed successful pop music and can find out what things in a song people respond to.  It can almost write a hit song by formula.  Nevertheless, when you hear that song, it's what YOU think of it that is important, not some objective checklist.

    You've raised a serious aesthetic question here, Soukousman. Is there really any objective way to measure music (or any other art)? I'm not sure the answer is to imagine being in the recording studio with the artist. How would that help? I don't really see it. In fact, it might distract from the music itself.
    I have a slightly different theory:
    In time, some music continues to be revered by many while much else falls out of favor quickly. People as a group seem to be able to tell instinctively what is worthwhile and what isn't. Or maybe it's that the people who have the greatest capacity for musical enjoyment are the most passionate advocates of good music, and make sure it rises to the top of other people's consciousness. The people who only sort of like music and only sort of enjoy Top 40 pop don't really care that much about it and turn away from it to the next new fad while the true music lovers return again and again to the best stuff and keep it alive.
    So I guess I don't think there is an objective way to measure the quality of music per se, but there is a way to judge its quality by observing the behavior of passionate music lovers toward it.
    It's certainly not a perfect theory, I know. But I don't know if a perfect air-tight theory exists.

Objectivity of music exists if the individual discerns neutrally instead of using subjective extreme emotions, the objective metrics being used is music theory, by using these metrics, the individual is observing the various characteristics that completes the song as a whole instead of denouncing the song, this is the main difference between discern vs judgement. But again, how can music be "good" or "bad", when these are mental constructs that have no objective/impartial basis to it? Same with the term  "real music", the word "real" is just another construct, music is relative. Humans are pattern based creatures, so as music, music is highly based on mathematics, this could be the patterns of a birds chirping to a train riding on its tracks, even your heart pulse has a rhythm.

The social consensus may judge a song, but regardless of their perception, there is more to a song than "I like" or "I don't like it" by an using open-ended questions, such as what drew the individual to create this composition? What mood, environment or person influenced you? Lyrically wise, what point of view is this song based on? What vocal style is being used? Melisma? Appoggiatura? What vocal innotation is being used -- is it high or low? What chords are the instrumentalists using? Close-ended questions about music leads to the typical binary "yes or "no" while the open-ended questions goes in depth and multi-dimensional about the art.

As for the fad stuff and Top 40 contemporary stuf, this is the business aspect of music. Do you want to know how a label pushes a song to be a immense hit? The reason is called payola (https://www.techdirt.com/articles/20110916/03140815978/how-payola-works-today-why-you-only-hear-major-label-songs-radio.shtml), Payola is when the music label uses lobbying to bribe the label to promote their artist' record for the listeners to elicit a response, but then the label advises the station that they should keep playing, cause the more plays, the more money goes to the industry -- corporate interest. There is an alternative route, the musician can go independent where they have more artistic freedom, but they are more liable for their own marketing, touring schedules, etc. However, as streaming online services become the norm, the payola tactic might decrease as musicians become more aware of this. But back to pop music, the 4/4 time signature is common in American music (Hip Hop, Rock & Roll, Metal, Disco, Soul) but in Caribbean Music (Soca, Calypso, Merengue, Champeta) and also African Music (Soukous, Mande, Mbaqanga, Benga,Ndombolo, African Rumba). 
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