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Essay代写:Guinea’s Syliphone label music and its origin

2018-02-09 | 来源:51due教员组 | 类别:Essay代写范文

下面为大家整理一篇优秀的essay代写范文- Guineas Syliphone label music and its origin,供大家参考学习,这篇论文讨论了几内亚音乐。在塞古·杜尔的时代,几内亚音乐是一种前卫的非洲音乐。从1967年到1983年,几内亚创作了大量的原创音乐,这对整个非洲人民来说都是一种鼓舞。几内亚音乐不仅是一种流行音乐,也是这个国家向世界展示的证据,表明它古老的音乐传统对于现代世界仍然是至关重要的,而且它们的尊严已经得到了充分的肯定。

Guinea,几内亚音乐,英国代写,essay代写,论文代写

Pioneering the concept of a return to the source for inspiration during the era of Sékou Touré, the Guinean music was the avant garde of African music. For example, from circa 1967 to 1983 the Syliphone label produced a great wealth of inventive and original music which was an inspiration to audiences throughout Africa. In my opinion, the Syliphone label music to Guinea was not only a kind of popular music but also the evidence this country showed to the world that its ancient musical traditions were still vital and appropriate to the modern world and that their dignity had been fully restored.

Thus, how did it come about and what is its origin?

In fact, its come-into-being is inextricably linked with history and politics.

With the burgeoning dominance of Guinea’s independent political parties in the early post-colonial period, the government took advantage of the griots, an ancient musical form which had been always used to direct the country’s cultural policy, to make dissemination of political doctrine. Besides, to normal people griots also played a vital role in their real life at the time. They all needed griots to situate the event at weddings, or funerals, or naming days, or circumcisions, or other important ceremonies. The role of griots could be genealogists or praise-singers or entertainers, etc. Totally, in that era both for the king and the normal people they need griots. It was an inseparable part of their daily life. However, with the state of the colonialist war, the French colonist eliminating a major source of revenue for the Mande leaders and a significant loss of income for the noble classes made many of the griots’ patrons could no longer afford the griots’ services, resulting in that the link between the nobility and the griots broken. That meant many of the musicians had to travel more frequently and much further in order to seek new patrons. Therefore, the role of the griot in Mande society was being changed and griots’ attached more importance to the praise singing part so as to earn more money. In the post-colonial era, with the aid of the newly elected independent governments, this transformation of the griots’ role continued. In the West Sékou Touré’s presidency, out of getting the unqualified support from the government’s cultural policy, the griots wrote new songs based on the old melodies from the epic narrative tradition, which proved to be very popular and influential throughout West Africa. In 1960s the government established orchestras of the state and provided them with only one recording studio and one recording label, Syliphone. Thereafter, the Syliphone label music was finally formed and the griot’s traditional role as praise singer is in strong evidence here, with their role being to create a personality cult around their leader. By the late 1960s, the Syliphone label expanding rapidly and now the music continues to inspire listeners all over the world .

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