qDue to significant political and social changes over the last decade in their countries and worldwide, many scholars in the Nordic nations and in Southern Africa have been researching on 'music and identity' - an area with a paucity of literature. It is our hope that this book will be beneficial to scholars interested in the field of music and identity. This volume is the result of the Swedish South African Research Network (SSARN) project, funded from 2004-2006 by the Swedish International Development Cooperation Agency (SIDA) and the National Research Foundation (NRF) of South Africa, under the theme 'Music and Identity'. SSARN was founded by Stig-Magnus ThorsAcn of the University of Gothenburg, Sweden, in 2002 when he invited Nordic and Southern African scholars to participate in a research group focusing broadly on the topic 'Music and Identity'q--Publisher's website.Highlife is regarded as Ghanaa#39;s main home-grown popular music style that has been influenced by Western musical ... Blending these with local indigenous idioms, highlife music has continued to borrow extensively from Western classical music, hymns and other Christian songs to ... of local songs and rhythms accompanied with Western instruments, especially the bass guitar, keyboard and concertina ... chord progressions of IaIVaVaI, also an important feature in Ghanaian highlife.
|Title||:||Music and Identity|
|Author||:||Eric Ayisi Akrofi, Maria Smit, Stig-Magnus Thorsén|
|Publisher||:||AFRICAN SUN MeDIA - 2007-01-01|