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003			ZW-GwMSU
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008			231214b |||||||| |||| 00| 0 eng d
040			_aMSU _cMSU _erda
100	1		_aTerpenning, Steven S. _eauthor
245	0	1	_aAfrican musical hybridity in the colonial context: _ban analysis of Ephraim Amu's "Yen Ara Asase Ni" _cSteven Spinner Terpenning
264			_aChampaign, IL: _bUniversity of Illinois Press; _c2016.
336			_2rdacontent _atext _btxt
337			_2rdamedia _aunmediated _bn
338			_2rdacarrier _avolume _bnc
440			_aEthnomusicology _vVolume 60, number 3,
520			_aThis essay describes how the creative hybridity of “Yɛn Ara Asase Ni,” a choral composition by Ephraim Amu, contributed to the emergence of national consciousness in Ghana. Originally composed for a colonial holiday in 1929, this piece spread through schools, radio broadcasts, and live performances, and was heard throughout the country around the time of independence. Based on postcolonial theory, secondary sources, archival research, and interviews, I present a history and analysis of “Yɛn Ara Asase Ni” that demonstrates how it disrupted colonial categories, such as religion and culture, and prepared the way for an independence movement informed by Pan-Africanism and Christianity.
650			_acreative hybridity
650			_apostcolonial theory,
856			_uhttps://doi.org/10.5406/ethnomusicology.60.3.0459
942			_2lcc _cJA
999			_c163629 _d163629