Titlebook: Indigenous African Popular Music, Volume 1; Prophets and Philoso Abiodun Salawu,Israel A. Fadipe Book 2022 The Editor(s) (if applicable) an

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Ufuoma Akpojivi,Chike Mgbeadichieon of the least principal component of the propagation of the state-space sample selected for expansion. The algorithm is tested on various systems with high degres of freedom and experimental results indicate improved and uniform state-space coverage.

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Introduction: Indigenous African Popular Music,ies and at the same time propagate the communal views about African philosophies and the temporal and spiritual worlds in which they exist. During colonial period and post-independence dispensation, indigenous African music genres and their artistes were mainstreamed in order to tackle emerging issu

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Indigenous and Modern Zimbabwean Music: Reflections from Thomas Mapfumo’s , Music Genre speaks against corruption. Through his . music, he portrays an Afrocentrism concept and he works as a human rights defender and a true nationalist who believes in using music to make positive changes amongst the Zimbabwean people.

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Baansi ni Yila: A Critical History of the Music Industry in Northern Ghanamusic industry in Tamale based on history, facts, and verifiable information. The study sheds light on the challenges faced by many young people in the Tamale area, who have the gift of music-making, which they wish to use as a medium to enhance their socio-economic livelihood. Our study builds the

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痛苦一生

Social Cognition and Advertisement in Yusuf Olatunji’s Musicsocially shared cognitions of his immediate audience to market the products/services. His music is historical documentation of some aspects of the lifestyle of the Yoruba of southwestern Nigeria, particularly in the 1960s and 1970s. His music remains relevant at all times.

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Exploring the Value Systems Embedded in Indigenous Yorùbá Music Genres and Yorùbá Nursery Rhymessic in Nigeria has not effectively drawn on music as a tool for upholding and conforming moral standards. We argue that lyrics of most of these indigenous genres promote the values of . (a good, virtuous, and dependable person), a fundamental worldview of the Yorùbá people. Attributes such as . (pay

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Cultural Frames: Sociocultural Metaphors in Owerri-Igbo Bongo MusicThe chapter focuses on the linguistic and the discursive tools deployed by these artists in framing the Igbo culture and constructing the sociocultural metaphors which address issues of morality, unity, family relations and social justice. It also examines how these frames and metaphors provide phil

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Thematic Deconstructions of Urhobo/Isoko Musicology and Brand Identity Negotiation, Normalization anng the paradigm of normalization, a significant other point is the directions of contradictions occasioned by the dire need to create newer version of musicology that rend to melt several musical genre and tradition into one.