JUJU MUSIC PERFORMANCE AND PRODUCTION? Sound Mediation from the Cultural perspective of Yorùbá Music Practice

Ganikale K. JUJU MUSIC PERFORMANCE AND PRODUCTION? Sound Mediation from the Cultural perspective of Yorùbá Music Practice. In: AES Convention 153. Audio Engineering Society; 2022. Paper 47. Available from: https://aes.org/publications/elibrary-page/?id=21930

@inproceedings{Ganikale2022_21930,
  author = {Ganikale, Kolawole},
  title = {{JUJU MUSIC PERFORMANCE AND PRODUCTION? Sound Mediation from the Cultural perspective of Yorùbá Music Practice}},
  booktitle = {AES Convention 153},
  note = {Paper 47},
  year = {2022},
  month = oct,
  publisher = {Audio Engineering Society},
  url = {https://aes.org/publications/elibrary-page/?id=21930}
}

TY  - CPAPER
TI  - JUJU MUSIC PERFORMANCE AND PRODUCTION? Sound Mediation from the Cultural perspective of Yorùbá Music Practice
AU  - Ganikale, Kolawole
T2  - AES Convention 153
M1  - Paper 47
PY  - 2022
DA  - 2022/10/06
UR  - https://aes.org/publications/elibrary-page/?id=21930
PB  - Audio Engineering Society
LA  - en
AB  - Mediating live music with modern audio tools such as the DAW, and Digital Music Sequencer is a common practice in Western civilisation, the culture that has determined the pace of the technological evolution of sound control and the leadership platform in the political economy of sound. Jùjú is an African music genre of the Yorùbás. Traditionally, live Jùjú performances have required up to twenty-one or more personnel on a large stage. This – as well as the detrimental impact of the cold and dry climates of the Global North on traditional African acoustic instruments such as the membranophones - has led to a need to use technology to replace personnel and organic percussion. In this paper, I investigate the roles that audio engineering can play in reducing the cost of the performance and production of the genre. I focus on the affordances of creative apparatuses such as the arranger keyboard, drum machine, vocal harmoniser, DAW, and Sampler to suggest practical ways to use these tools for live Jùjú music performance which could influence the quest for modern music pedagogy in the Global South.
ER  -