Koo Nimo: a contemporary Ghanaian musician

Kaye, Andrew L.

doi:10.21504/amj.v7i4.2003

Cited by 3 publications

(1 citation statement)

References 8 publications

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“…Each of these sadwa ase styles comes with its unique musical characteristics. For instance, writing on the music of Koo Nimo, Kaye (1999) observes that dagomba form is tuned conventionally [E-A-d-g-b-e]. Its harmonic structure derived from the seven diatonic scale of a Western 'major' key emphasizing on two chordstonic major (I), and dominant seventh (V7).…”

Section: Palm-wine Guitar Scenariomentioning

confidence: 99%

Learner and Subject at the Dawn of Digital REsearch-LEd Teaching and LEarning in the Time of Covid-19

Ja¹

2020

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is currently a contract staff member in Accounting Education within the Social Science Cluster of the School of Education in the University of KwaZulu-Natal (UKZN). Prior to joining academia in 2014, she spent over fifteen years in the corporate world in diverse fields of Accounting in both Nigeria and South Africa. After qualifying as a Chartered Accountant in 1991 in Nigeria, she has worked in various industries performing key accounting roles such as Financial Accounting, Management Accounting and Audit. She rose to the position of the divisional Finance Director in 2001 overseeing the finance arm of a Packaging business. She also experienced the South African business world while working with Sifax South Africa between 2007 and 2009. In quest of a career in education, she commenced a certificate course in teaching in 2013 after which she started lecturing in the UKZN School of Education in 2014. At the same time, she embarked on her doctoral journey in 2014 for the next five years ending September 2018. Her research pursuit which basically draws on her doctoral studies, focuses on the fields of assessment, cognitive demand and textbooks within the domain of Accounting education. More recently, her research focus has expanded, and now includes curriculum preparedness for the 4 th industrial revolution classroom and virtual learning in the South African context.

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Section: Palm-wine Guitar Scenariomentioning

confidence: 99%

Learner and Subject at the Dawn of Digital REsearch-LEd Teaching and LEarning in the Time of Covid-19

Ja¹

2020

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Nana Ama Adadziewaa!: The Voice Behind Popular Hit Songs in Ghana?

M.C.¹,

E.K.²,

Gershon³

et al. 2022

African Journal of Social Sciences and Humanities Research

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In this paper, we unravel the personality, musical exploits, challenges and contribution of Nana Ama Adadziewaa, Ghana’s iconic female background vocalist to the music industry. Using interviews, documents and audio reviews for data collection, we reveal that Nana Ama Adadziewaa’s voice is behind a corpus of popular hit songs in Ghana. Furthermore, her voice is heard on the Ghanaian airwaves nearly every day; however, this does not bring her any economic gains due to Ghana's poor royalty collection system. We conclude by eulogising Nana Ama Adadziewaa as a model of excellence in the background vocals of Ghanaian popular music and a significant contributor to the Ghanaian music industry. Subsequently, we recommend that the Ghana Music Right Organisation (GHAMRO) and relevant stakeholders enhance the royalty collection system in Ghana so that Nana Ama Adadziewaa and her contemporaries benefit as a matter of urgency from their hard work.

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Guitar Playing and Representation in the Changing Locations of New York City’s African Music Scene

Racanelli¹

2014

Ethnomusicology

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For the past decade, a handful of African guitarists and their groups have formed the basis of the African music scene in New York City. They have performed in diasporic African contexts and cosmopolitan, mostly non- African, settings drawing upon notions of difference that have greatly characterized various representations of African music. For these guitarists and their collaborators, difference and musical diversity have helped to comprise a shared aggregate of tendencies and resources that have informed their playing, performance practice, and compositional habits. As a participant-observer and researcher since 2005, I have discovered the extent to which these guitarists have appropriated different musical ideas and practices-African and non- African-making them their own. In this article, I examine the differences of aesthetics and musical conception that have informed guitar playing and representation in contrasting diasporic and cosmopolitan contexts. I aim to provide the reader with some insights concerning the varied forms of verbal and musical discourse that African guitarists have employed to represent African music in New York City. Lastly, I consider recent occurrences that might raise questions regarding the future of African jazz.

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Koo Nimo: a contemporary Ghanaian musician

Cited by 3 publications

References 8 publications

Learner and Subject at the Dawn of Digital REsearch-LEd Teaching and LEarning in the Time of Covid-19

Learner and Subject at the Dawn of Digital REsearch-LEd Teaching and LEarning in the Time of Covid-19

Nana Ama Adadziewaa!: The Voice Behind Popular Hit Songs in Ghana?

Guitar Playing and Representation in the Changing Locations of New York City’s African Music Scene

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