Highlife Music in West Africa is an excursion into the origins and development of an extraordinary music form. Highlife music is essentially an urban music, but unlike dance music performed using Western musical instruments, its dynamism is based less in the aesthetics of form and style than in song-texts. Critics treat highlife as a popular music genre, but this fails to acknowledge the role that the lyrics of highlife music played in the search for political, economic, and national growth and stability in Africa. Highlife musicians' messages, like drama and theater scripts, not only reflect Africa's culture but also highlight her social, economic, and political problems. The involvement of radicals and Pan-Africanists has helped elevate highlife musicians from the status of entertainers to a more serious and responsible one, as modern African town criers, whose song-texts are communal messages, warnings, and counseling.
Highlife Music in West Africa: Retrospect and Prospects
Introducing the development of West African popular music, this text begins with a discussion of the early Highlife bands.
“'Highlife' Takes on a New Name,” Sunday Mirror, July 1, 1960; “'Osibi' Is New Name,” Sunday Mirror, September 4, ... 108; John Collins, “The Ghanaian Concert Party” (PhD diss., State University ofNew York at Buffalo, 1994), 436.2.
"Highlife Giants is an intimate portrait of the pioneering artistes of West Africa's music scene from the 1920s onwards.
The book traces the origins of highlife music to the present - and include information on palmwine music, adaha brass bands, concert party guitar bands and dance bands, right up to off-shoots such as Afro-rock, Afrobeat, burger highlife, ...
This book takes an ethnomusicological approach to demonstrate the historical importance of female performers of Highlife music in Ghana.
Olaiya's. Highlife. It is important to note that Olaiya's music is part of a pan-regional style that extends to other West African countries, including Ghana, Liberia, and Sierra Leone.
The author has also directed a film entitled Living the Hiplife and with two DJs produced mixtapes that feature the music in the book available for free download.
(Upper Saddle River, NJ: Pearson Prentice Hall, 2008); Horace Clarence Boyer, “Black Gospel Music,” Harry Eskew et al., “Gospel music,” Grove Music Online, Oxford Music Online (accessed February 17, 2011); Mellonee V. Burnim, ...
Glassman, Jonathan. 1995. ... Mohamed Bakari and Saad S. Yahya. ... The symbolism of its name is an apt metaphor for African American women; honey, the ancient substance with myriad medicinal uses, is both sweet and nurturing, ...