||Intercultural Music, Vol
Cynthia Tse Kimberlin and Akin Euba, Editors.
Published for the CIMA and the Bayreuth African Studies, 1995.
BASS 29, 267 pp, ISBN 3-927510-19-X, DM 39.00 **
Companion cassette (35 minutes) DM 12.80. **
Text from back cover
Title of Essays (Author)
- Traditional Ashanti Dances as a Compositional Resource: Tachema-Chema and Sikyi (Roy Travis)
- Gamal Abdel-Rahim's Approach to Intercultural Music (Samha El-Kholy)
- The Chamber Music of Gamal Abdel-Rahim and the Fusion of Traditional Egyptian and Western Elements in Modern Egyptian Music
(John O. Robison)
- Modern Japanese Composers: Historical Developments and Current Observations (Yukiko
- A History of Intercultural Art Music in Nigeria (Afolabi Alaja-Browne)
- The Present State of Japanese Contemporary Music (Kazushi Ishida)
- New Intercultural Ugandan Music within the Context of Historical and Ethnic Considerations (Solomon
- Film Music: The New Intercultural Idiom of 20th Century Indian Music (Subramaniyam
- New Concepts of Music Education Apropos Interculturalism (S. A. K. Durga)
- The Challenge of Interculturalism in Music Education in Nigeria (Mosun
- Traditions and Transitions in Ethiopian Music: Event as a Catalyst for Change (Cynthia T. Kimberlin)
- Popular Music in Multi-Ethnic Malaysia: Diversity Despite Control (Tan Sooi
- Towards a Cross-Cultural Theory of Rhythm in African Drumming (Willie Anku)
- Development of New Intercultural Idioms in Music in East Africa: A Preliminary Survey (Paul Kavyu)
- Social and Other Cultural Functions of Igbo Musical Instruments (Joy Nwosu
- Exploring African Musical Resources in Contemporary Compositions (J. H. Kwabena
The First International Symposium and Festival on Intercultural Music, organized by the Centre for Intercultural Music Arts in London in 1990, provided the catalyst for this volume devoted to intercultural music worldwide. The London event acted as a forum for questions such as: How is intercultural music defined and by whom? Where did it come from? How and why did it come about? What are its implications for the present and future? Sixteen essays on this important and timely subject as part of an ongoing international exchange among scholars, composers and performing musicians attempt to answer some of these intriguing questions.
Do these essays articulate a complementary but unified definition of intercultural music? Or, do they convey a continuing debate offering us new revelations about ourselves and the dynamics of societies? The authors examine aspects of intercultural music from Egypt, Ethiopia, Ghana, Japan, Kenya, India, Malaysia, Nigeria, Uganda, and the United States within the framework of composition and creativity, historical perspectives on contemporary attitudes about music, music learning, music within the context of political conflicts, and theoretical concepts governing social function, rhythmic norms and contextual practice.