A Contemporary Study of Musical Arts: Illuminations, reflections and explorations
The Contemporary study of musical arts, Volumes 1 to 5 is a series that emphasizes the intellectual security of cultural knowledge orientation in the study and research of the musical arts for students and educators that could engage in global knowledge discourse and practice with original cultural-mental integrity. The "Need" that introduces the series argues that "theoretical content, philosophical and psychological foundations of creativity and practice, the nature and principles of musical arts theatre, and research and historical process [should] derive in essence from the original African intellectual perspective about the sense and meaning of music - indigenous to contemporary." The contents discuss what is Africa-generic at the sub-structural level about musical arts conceptualization and practice. Volume 4 is a collection of scholarly essays, some in narrative style, that discusses specifi c musical arts topics, basic to African indigenous knowledge grounding, in the disciplinary fields of philosophical illuminations, theoretical explorations, indigenous concept of drama, contemporary musical arts education including dance education, science and technology, and music and health.
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Page 55 - AD That root is heathen. Here say this prayer. 1850 AD That prayer is superstition. Here drink this potion. 1940 AD That potion is snake oil. Here swallow this pill. 1985 AD That pill is ineffective. Here take this antibiotic. 2000 AD That antibiotic is unhealthy. Here eat this root.
Page 203 - This is the great new problem of mankind. We have inherited a large house, a great "world house" in which we have to live together — black and white, Easterner and Westerner, Gentile and Jew, Catholic and Protestant, Moslem and Hindu — a family unduly separated in ideas, culture and interest, who, because we can never again live apart, must learn somehow to live with each other in peace.
Page 130 - Welcome, welcome to our father," until, suddenly, firearms are discharged, and the mawafia appear escorting the " spirit " of the dead man from his house, beneath the floor of which his body lies buried. On his return to this world the " spirit " walks slowly, with tottering, uncertain steps, and muttering words with a feeble voice — his speech being disguised similarly to that of the maw-afia. The poor
Page 23 - This is a revised version of a paper delivered at the conference "Fascism Today: A Political and Historiographical Debate," held at New York University (20 March 1989).
Page 55 - Here, drink this potion. 1940 AD That potion is snake oil. Here, swallow this pill. 1985 AD That pill is ineffective. Here, take this antibiotic. 2000 AD That antibiotic doesn't work anymore. Here, eat this root!
Page 55 - Initiation and the balance of power the tshikanda girls' initiation of the Venda of the Northern Transvaal. Ethnological and linguistic studies in honour of NJ. van Warmelo. Government ethnological publications 52, Pretoria, 1969A, pp. 21-38. Idem: Songs, dances, mimes and symbolism of Venda girls
Page 192 - Reporters for the Institute tried to be careful not to throw out the baby with the bath water. There are important benefits in having power exercised at a level as close to the people as possible — an issue, by the way, on which the suburbanite and the ghetto resident find common ground. Local control should be given up only where important state or regional interests clearly require...
Page 232 - Children's music ... is not different in kind from adult music; there is no conscious simplifying process at work whereby children are fed milder, less complicated, or less sophisticated forms of adult expression. On the contrary, children are fed the thing itself, hard and complete, making the artistic worlds of children and adults intertwined and inseparable.
Page 86 - The difference between accented and unaccented beats lies in the fact that the accented beat is the focal point, the nucleus of the rhythm, around which the unaccented beats are grouped and in relation to which they are heard.