In both cases, Agawu correctly points out that more musical context and analysis would allow both authors to refine their observations and even make their arguments more convincing. Here, I think that Agawu makes strong observations. It ultimately points towards ways in which musicology and theory can work in concert, making the point that music theory may not need musicology but musicology needs theory. He smartly reframes the issue of context in music theory by asking where the contextual lines should be drawn and points out that theory does not necessarily need historical context to back up its claims.

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Juzuru V. Kofi Agawu Receive exclusive offers and updates from Oxford Academic. Transcriptions of the words to five of the online recordings are helpful, though the tones that distinguish syllables in tone languages are not marked, leaving it to readers to imitate differences that we hear on the recordings good exercise! Agawu is concerned throughout the book to correct what he regards as false or misleading interpretations, many of which he rightly sees as consequences of colonial rule and the postcolonial aftermath.

This demonstration [of core melodic principles] will hopefully disrupt any lingering suspicions that African melody is primitive, inferior, or unsophisticated This page was last edited on 14 Novemberat Text, Context, Interpretationed.

In this review, I accept a few of these invitations and comment on issues that I consider likely to interest readers of Music Theory Onlineparticularly those who would like to see more attention paid to African music and musical thought in teaching, research, and music theory broadly conceived.

To purchase short term access, please sign in to your Oxford Academic account above. You could not be signed in. Musikinstrumente, nicht-begriffliche Mathematik und die Evolution der harmonischen Progressionen in der Musik der Shona in Zimbabwe. He is the author of five monographs and numerous articles and reviews. He wrote the book African Rhythm, A Northern Ewe Perspective, which deals with the relationship and interference of the Ewe language and their music in everyday lives revealing a greater horizon for Okfi rhythmic expression.

Remarks on the First Movement of K. Exceptions to these requirements must be approved in writing by the editors of MTO, who will act in accordance with the decisions of the Society for Music Theory. John Tyrrell and Stanley Sadie, vol. Music analysis, musical semiotics, African music, postcolonial theory.

You do not currently have access to this article. This biography of a living person needs additional citations for verification. The Evidence for Northern Ewe Music. Society for Music Theory members Sign in via society site.

Essays in Honor of Jean-Jacques Nattiezed. The African Imagination in Music. Kofi Agawu was born in Ghana, where he received his initial education before studying composition and analysis in the UK and musicology in the US. A Critique of Africanist Ethnomusicology. Intercultural Music Studies, 7.

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Experiencing Music, Expressing Culture. To be sure, the engagement of prominent composers of art music in scholarly research is pertinent, and documentation of those engagements is more readily available than documentation of how the far more iofi creators and performers of popular music have represented and transformed traditional resources.

Sign in via your Institution Sign in. Essays on His Life and Worked. Victor Kofi Agawuwho publishes as V. Stephen Hefling Schirmer, From Wikipedia, the free encyclopedia.

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Professor Kofi Agawu

Yet few attempts to analyze the so-called Classic Style have embraced the semiotic implications of this condition. Playing with Signs proposes a listener-oriented theory of Classic instrumental music that encompasses its two most fundamental communicative dimensions: expression and structure. Units of expression, defined in reference to topoi, are shown here to interact with, confront, and merge into units of structure, defined in terms of the rhetorical conventions of beginning, continuing, and ending. The book draws on examples from works by Mozart, Haydn, and Beethoven to show that the explicitly referential, even theatrical, surface of Classic music derives from a play with signs. Although addressed primarily to readers interested in musical analysis, the book opens up fruitful avenues for further research into musical semiotics, aesthetics, and Classicism. Originally published in




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