African Popular Music Bibliography
By John Collins

Ademowu P. W. 1993. History of Fuji Music in Nigeria. Effective Publications, Ibadan.

Agovi K. E. 1989. The Political Relevance of Ghanaian Highlife Songs Since 1957. Research in African Literatures, Vol. 20 (3).

Aig-Imoukhuede F. 1975. Contemporary Culture in Lagos. In The Development of an African City, (ed) A.B. Aderibigbe, Longman, Nigeria.

Alaja-Browne A. 1985. Juju Music: A 5tudy of its Social History and Style. Ph.D Dissertation, University of Pittsburgh, USA.

Anderson A. M. 1991. Music in the Mix: The Story of South African Popular Music. Ravan Press, Johannesburg, South Africa.

Ballantine C. 1993. Marabi Nights. Ravan Press, Johannesburg, South Africa.

Bame K. N. 1985. Come to Laugh: African Traditional Theatre in Ghana. Lillian Barber Press, N. York.

Barber K. 1987. Popular Art in Africa. In African Studies Review, vol.10 (3), September, pp. 1-78.

Barlow J. S. and Eyre B. 1995. Afropop. Chartwell Books, USA.

Bender W. 1986. Sweet Mother: Africanische Musik. Trickster Verlag, Munich.

___1989. Ebenezer Calender and Appraisal. In Bayreuth African Studies Series 9, (ed) E. Breitinger, Bayreuth University, pp. 43-69.

Bilby K. M. 1985. The Caribbean as a Musical Region. The Woodrow Wilson International Centre for Scholars, Washington D.C.

Brempong 0. 1984. Akan Highlife in Ghana: Songs Or Cultural Transition. PhD Thesis, Indiana University, USA.

Brooks Jr. G. E. 1972. The Kru Mariner in the 19th Century. Liberia Monograph Series No 1. Dept. of Anthropology, University of Delaware.

Cathcart J. 1989. Hey You: Portrait of Youssou N'Dour. Fine Line Books, London.

Chernoff J. 1979. African Rhythms and African Sensibility. University of Chicago Press.

Clark Ebun. 1979. Hubert Ogunde: The Making if Nigerian Theatre. Oxford University Press.

Collins E. John. 1976. Comic Opera in Ghana. In African Arts, UCLA, vol. 9 (2), January, pp. 50-57. Republished in Ghanaian Literatures (ed) K. Priebe, Greenwood Press, Connecticut,1988, pp. 61-72.

___. 1976. Ghanaian Highlife. In African Arts, UCLA, vol.19 (1), October, pp. 62-8 and 100.

___. 1977. Postwar Popular Band Music in West Africa. In African Arts, UCLA, vol 10 (3), April, pp. 53-60. Republished in German in Populare Musik in Afrika, (ed) V. Erlmann, Museum Fur Volkerkunde, Berlin, 1991.

___. 1979. Crisis in the Ghanaian Music Industry. West Africa magazine, London, August 20th. Republished in German in Lesebuch Zur Afrikanischen Kulture, (ed) A. Infield, Unionsverlag, Zurich, 1980.

___. 1985. Music Makers of West Africa, Three Continents Press, Washington DC/ Passeggiata Press, Colorado

___. 1985. African Pop Roots. Foulshams, London.

___. 1985 The Concert Party in Ghana, Musical Traditions, Exeter, (ed.) Keith Summers, No.4.

___. 1987. Jazz Feedback to Africa. In American Music (ed.) J. Graziano, Univ. of Illinois Press, vol. 5 (2), Summer, pp. 176-193.

___. 1988. Comic Opera in Ghana. Ghanaian Literatures, (ed.) R. Priebe Greenwood Press, U.S.A.

___. 1989. The Early History of West African Highlife Music. Popular Music, (ed.) by J. Farley and S. Rijven, Cambridge University Press, Vol.8, No.3, October.

___. 1989. African Music Strengthens Cultural Autonomy, (ed.) S. O’Connell, Group Media Journal, vol. VIII, Munich.

___. 1989. Article on West African Popular Music (translated into Japanese) for Japanese Noise: Music Magazine, (ed.) Toyo Nakamuru, Tokyo, Number 1, Spring.

___. 1990. Running a Band, Music Studio and Music Archives in Ghana. Proceedings of Conference on Regional Audio-visual Archives, Falun, Sweden, Delarna Research Council.

___. 1991.The Popular Music of West Africa (translated into German) Populare Musik in Afrika, (ed) Velt Erlmann, Museum fur Volkekunde Germany.

___. 1992. The Ghanaian Concert Party - Popular Entertainment and the Ghanaian School Syllabus, (eds) A.Boeren and K. Epskamp, Ceso Paperback No. 17, The Hague, Centre for the Study of Education in Developing countries.

___. 1992. West African Pop Roots, Temple University Press, USA.

___. 1992. Some Anti-Hegemonic Aspects of African Popular Music. In Rockin’ The Beat: Mass Music and Mass Movements, (ed) R. Garafolo, Southend Press, Boston.

___. 1994. The Problem of Oral Copyright: The. Case of Ghana. Chapter 8 of Music And Copyright, (ed) Simon Frith, Edinburgh University Press.

___. 1994. The Ghanaian Concert Party: African Popular Entertainment at the Crossroads. PhD Dissertation, SUNY Buffalo. Available from Customer Service for Dissertations, University Microfilms Inc. 300 North Zeeb Road, Ann Arbor, Michigan 48106-1346.Publication Number 95-09102.

___. 1994. Highlife Time. Anansesem Press, Accra. (second revised version 1996.)

___. 1996. Music Feedback: African America's Music in Africa, (ed.) Lisa Brock, Issue: A Journal of Opinion, African Studies, vol. XXIV/2.

___. 1996. E. T. Mensah, the King of Highlife. Anansesem Press, Accra.

___. 1997. Fela and the Black President Film. In Glendora African Quarterly of the Arts, (ed) Dapo Adeniyi, Lagos, Vol. 2, No. 2, pp.57-73.

___. 1998. The Ghanaian Concert Party. In Glendora Review: in African Quarterly of the Arts (ed D. Adiniyi), Lagos, vol. 1 (4, pp. 85-88.

___. 1999. The Evolution of West African Popular Entertainment. The Encyclopedia of Sub-Saharan Africa (ed) John Middleton, Charles Scribner and Sons Reference Books, U.S.A.

___. 1999. Ghana Entry (with Ronnie Graham) for the Rough Guide to World Music, Volume 1, (eds. S. Broughton, M. Ellingham and R. Trillo). Published by Rough Guide/Penguin, London, pp.488-498.

___. 2000. Hi-technology, Individual Copyright and Ghanaian Music, in the book Ghana: Changing Values/Changing Technologies, (ed) Helen Lauer, published by the Council for Research in Values and Philosophy, U.S.A.

___. 2000. Paper on the African Music Industry. For the June 20th 2000 Workshop of the World Bank on Developing the Music Industry in Africa. Available from the Policy Science Center, 127 Wall St. Room 314, BOX 208215, New Haven, CT. 06529-8215. (

___. 2000. La Musique Populaire de L’Ouest Africain Anglophone, in Notre Librarie: Literatures du Nigeria et du Ghana: 2 (ed.) Jean-Louis Joubert. Published by the French Ministry of Foreign Affairs, Number 141, July-September, pp. 114-118.

___ (forthcoming) Fela: Nigeria’s Afrobeat Warrior. Forthcoming from Off The Record Press of London.

Collins E. John and Richards P. 1989. Popular Music in West Africa (an Interpretive Framework). In World Music, Politics and Social Change (ed) S. Frith, Manchester University Press, pp. 12-46.

Collins E. John (with Barber K. and Ricard A.). 1997. West African Popular Theatre. Indiana Univ. Press/James Curray.

Coplan D. 1975. Go to my Town Cape Coast: The Social History of Ghanaian Highlife. In Eight Urban Musical Cultures, (ed) B. Nettl, University of Indiana Press.

___. 1985. In Township Tonight: South Africa’s Black City Music and Theatre. Ravan Press, Johannesburg, South Africa.

Cornet J. 1958, La Bataille de Rail. Brussels.

Darkwa A. 1974. New Musical Traditions from Ghana. PhD Dissertation, Wesleyan University, USA.

De Graft-Johnson J.C. 1932. The Fanti Asafu, in The Journal of the Institute of African Languages and Culture, D. Westerman (ed), Oxford University Press, Volume V, pp. 307-322.

Dibango M. and Rouard D. 1990. Trois Kilos de Cafe. Lieu Commun, Paris.

Dikobe M. 1973. The Marabi Dance, Heinemann, London.

Dube C. 1997. Art from the Frontline: Contemporary Art from Southern Africa. Karia Press, London.

Donner P. 1980. Music Forms in Tanzania and their Socio-economic Base. In Transactions of the Finnish Anthropological Society, Jipemoyo Magazine, Helsinki, no 9, pp. 8-9.

Duran L. 1986. Djely Mousso, Folk Roots, vol. 11 (3), September, pp. 34-9.

Echeruo M. J. C. 1962. Concert and Theatre in Late 19th Century Lagos. Nigeria magazine, Lagos, no.74, September, pp. 68-74

Erlmann V. 1988. A Feeling of Prejudice: Orpheus McAdoo and the Virginia Jubilee Singers in S. Africa 1890•9. In Journal of Southern African Studies, vol. 14 (3), April, pp. 332-350.

Ewens G. 1991. Africa Oh Ye: A Celebration of African Music, Guinness, London.

___. 1994. Congo Colossos: Franco and OK Jazz, Buku Press, UK.

Fabian J. 1978. Popular Culture in Africa: Findings and Conjectures. In Africa, vol 48 (4), pp. 315-334.

Fosu-Mensah. 1987. On Music in Contemporary West Africa. In African Affairs, London, vol. 86 (343), April, pp. 227-240.

Graham R. 1988-98. Stern’s Guide to Contemporary African Music, Vol I and 2, Zwan and Off The Record Press, London/ Pluto Press, London.

Harrev F. 1987. Goumbe and the Development of Krio Popular Music In Freetown Sierre Leone. Paper read at 4th International Conference of the International Association for the Study of Popular Music, Accra.

___. 1989. Jambo Records and the Promotion of Popular Music in East Africa. In Bayreuth African Studies Series, (ed) W. Bender, Bayreuth University, Germany, no 9, pp. 103-137.

Haydon G. and Marks D. (eds). 1985. Repercussions: A Celebration of African-American Music, Century Publishing, London.

Horton, C. Dowu. 1984. Popular Bands of Sierre Leone 1920 to present. In Black Perspectives in Music, Cambria Heights, New York, vol. 12 (2), pp. 183-92.

Jacobs, J.U. 1989. The Blues: An Afro-American Matrix for Black South African Writing. In English in Africa, vol. 16 (2), 0ctober, pp. 3-17.

Jegede D. 1987. Popular Culture and Popular Music: The Nigerian Experience. In Presence Africaine, no 144, pp. 59-72.

Jeyifo B. 1984. The Yoruba Popular Traveling Theatre of Nigeria. Nigerian Magazine, Lagos.

Johnson, Rotomi. 1989. The Language and Content of Nigerian Popular Music. In Bayreuth African Studies Series (ed), W. Bender, Bayreuth University, Germany, pp. 91-102.

Kauffman R. 1975. Shona Music: A Process which Maintains Traditional Value. In Urban Man in Southern Africa (eds) C. Kileff and W. C. Pendelton, Mambo Press, Zimbabwe.

Kavyu R. N. 1978. The Development of Guitar Music in Kenya. In Jazz Research, Germany, no. 10, pp. 111-119.

Kazadi 0. 1973. Trends in 19th and 20th Century Music in Zaire-Congo. In Musikulturen Asiens, Afrikas und Oceaniens, (ed) von Robert Gunther, Gustav Bosse Verlag, Regensburg, no. 9, pp. 267-288.

Kerr D. 1995. African Popular Theatre. James Currey, London.

King B. 1966. Introducing the Highlife, Jazz Monthly, July, pp. 3-8.

Konate Y. 1987. Alpha Blondy: Reggae et Société en Afrique Noire, Karthala Press, Paris.

Kubik G. 1974. The Kachamba Brothers Band: A Study of Neo-Traditional Music in Malawi. Zambian Papers, no.9.

___. 1981 Neo-Traditional Popular Music in East Africa Since 1943. In Popular Music, (eds) R. Middleton and D. Morn, Cambridge Univ. Press.

Lee H. 1988. Rockers d’Afrique: Stars et Légendes du Rock Mandingue. Albin Michel, Paris.

Leonard L. 1967. The Growth of Entertainment of Non Africa Origin in Lagos from 1866-1920. Ph.D Thesis, University of Ibadan, Nigeria.

Llpsitz G. 1994. Dangerous Crossroads. Verso, London/New York.

Low J. 1982. A History of Kenyan Guitar Music 1945-80. African Music, Grahamstown, vol. 6 (2), pp. 17-36.

___. 1982 Shaba Diary (Katanga Guitar Styles) Acta Ethnologica et Linguistica, Series Africana 16, Vienna.

Malamah-Thomas David H. 1988. Community Theatre Uses Culture for Development in Sierra Leone. In: Media Development, Vol. XXXV, No. 3 London, pp. 25-28

Makeba M. and Hall J. 1987. Makeba - My Story. New African Library, New York.

Malamusi M. A. 1984. The Zambian Popular Music Scene. Jazz Research, vol.16, Graz.

Makwenda C. J. 1990. Zimbabwean Contemporary Music of the 1940's-60's. Paper at Audio-Visual Archives Conference, Fayum, Sweden, July.

Manuel P. 1988. Popular Music of the Non-Western World. Oxford Univ. Press.

Marre J. and CHARLTON H. 1983. Beats of the Heart: Popular Music of the World, Pluto Press, London.

Martin S. H. 1982. Music in East Africa: Five Genres in Dar Es Salaam. In Journal of African Studies, vol 9 (3), Fall, pp, 155163.

Matonde K. 1972. La Musique Zairoise Moderne, Kinshasha.

Mensah A. A. 1971/72. Jazz the Round Trip. In Jazz Research, no.3/4, Graz.

Meyer Birgit. 1998. Popular Ghanaian Cinema and the African Heritage. Netherlands Foundation for Tropical Research.

Mitchell J. C. 1956. The Kalela Dance. Rhodes-Livingstone Papers, no. 27.

Moore C. 1982. Fela Fela This Bitch of a Life. Allison and Busby, London.

Nketia J. H. K. 1956. The Gramophone and Contemporary African Music in the Gold Coast. Institute of Social and Economic Research, University of Ibadan.

Nunley J. W. 1987. Moving with the Face of the Devil: Art and Politics in Urban West Africa. University of Illinois Press, Urbana and Chicago.

Obata J. K. 1971. Soul Music in Africa. The Black Scholar, California, vol. 2 (6).

Omibiyi-Obidike M. A. 1987, Women in Popular Music in Nigeria. Paper at 4th International Conference of International Association for the Study of Popular Music, Accra, Ghana.

Pongweni, A.J.C. Songs that Won the Liberation War, College Press, Zimbabwe.

Ranger T. O. 1975. Dance and Society in Eastern Africa 1890-1970. Heinemanns, London.

Ricard A. 1977. The Concert Party as a Genre: The Happy Stars of Lome. In Forms of Folklore in Africa, (ed) B. Lindfors, Austin, Texas.

Roberts J. S. 1974. Black Music of Two Worlds. William and Morrow, New York.

Rycroft D. 1961/1961. The Guitar Improvisations of Mwenda Jean Bosco, Part One/Two. African Music, vol. 2/3 (1/4), pp. 81-98/86-102.

___. 1977. Evidence of Stylistic Continuity in Zulu ‘Town’ Music. In Essay for a Humanist (Klaus Waschmann), Town House Press, New York, pp. 216-260.

Sackey C. K. 1989. Konkoma: A Musical Form of Fanti Young Fishermen in the 1940’s and 50's in Ghana W. Africa, Dietrich Reimer Verlag, Berlin.

Schmidt, C. (ed). 1994. The Guitar in Africa 1950’s-90’s. The World of Music, IITM, Germany, vol. 36 (2).

Seago A. 1985. East African Pop Music. Heinemann, London.

Smith M. E. 1962. Popular Music of West Africa. African Music, vol. 2 (1).

Sprigge R. 1961. The Ghanaian Highlife: Notation and Sources. In Music in Ghana, Institute of African Studies, Univ. of Ghana, Legon, pp, 7-94.

Stapleton C. and May C. 1987. African All Stars, Quartet Books, London.

Stearns M. and J. 1968. Jazz Dance: The Story of American Vernacular Dance. McMillan, London.

Sutherland Efua. 1970. The Original Bob: The Story of Bob Johnson Ghana’s Ace Comedian. Anowuo Educational Publications, Accra, Ghana.

Van Der Geest S. and Asante-Darkon, K. 1982. The Political Meaning of Highlife Songs in Ghana. In American Studies Review, vol. XXV (1), March, pp. 27-35.

Wallis R. and Malm K. 1984. Big Sounds from Small Peoples, Constable, London.

Ware N. 1978. Popular Music and African Identity in Freetown, Sierre Leone. In Eight Urban Cultures: Tradition and Change, (ed) Bruno Nettl, University of Illinois Press, pp. 196-319.

Waterman C. 1990. Juju: A Social History and Ethnography of an African Popular Music. University of Chicago Press, Chicago.

Yankah K. 1984. The Akan Highlife Song: A Medium for Cultural Reflection or Deflection? In Research in African Literatures, vol 15 (4), Winter, University of Texas Press, pp. 568-582.

Zindi F. 1980. Roots Rocking in Zimbabwe, Mambo Press, Harare, Zimbabwe.