Aaron Carter-Ényì
Biographic Data
| ID | 161635 |
|---|---|
| NAME | Aaron Carter-Ényì |
| GIVEN NAMES | Aaron |
| FAMILY NAME | Carter-Ényì |
| SIGNATURE | CARTER-ÉNYÌ A |
| AFFILIATIONS | Morehouse College |
| ORCID | 0000-0003-2614-4777 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 6 |
| WORKS AS AUTHOR | 9 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2016 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
Reconstructing Afrobeat as a Scene-Based Genre
In 1960s–70s Lagos, a nascent musical movement formed fusing West African highlife and American popular music, fortified by James Brown’s 1970 tour of West Africa. Political corruption was confronted by music, catapulting Felá Kuti to international fame and silencing ?égún Bucknor. Kuti’s positive impact is diminished because Afrobeat became more of a brand than a genre among international audiences. Evidence from an audio survey (n=168) conducte…
Commentary
Qian Rong's translation offers a new perspective to Western scholars on singing in tone languages because her article was not originally composed for an English-language audience, but addresses Mandarin text-setting for a Mandarin-speaking audience.Most English-language scholarship on text-setting in tone languages must introduce and explain the language and the music within the same text.As English is not a tone language, the concerns seem pecul…
Melodic Organization and Sequential Ordering of Galant Schemata
This article discusses the organization of galant schemata (Gjerdingen 2007) and its significance across the continuum of music-making from composition to improvisation (Nettl 1974). In Section 1, we argue that galant schemata should be defined more clearly as skeletal core tones, outlines for diminution, and surface formulas after Rabinovitch 2018, 2019a, and 2020a (see also Baragwanath 2020). We compare this organization briefly to additional m…
Ojú l’ọ̀rọ̀ọ́ wà
Living traditions of praise-singing are found throughout sub-Saharan Africa, bridging orality, literacy, digital media and the internet. The transcribed text has been the primary focus of scholarship on African oral traditions. Because of the growing number of digital audiovisual recordings available on streaming and social media platforms, it is possible to analyse more modalities of praise-singing. Along with fieldwork observations, this articl…
Onset and Contiguity
Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. Our approach to reductions prioritizes contextual features like onset and contiguity. By awarding points to notes with such features, our process selects core tones from melodic surfaces to produce a reduction. Through this reduction, a ne…
Decolonizing the Mind Through Song
For post-colonial African musicians, decolonization became an imperative. Singing in one's native language was not creative expression alone, but also a reclamation of indigenous culture and identity. In Decolonising the Mind, Ngũgĩ wa Thiong'o makes a case for African literature to be written in African languages. He also points out that singers and musicians have resisted mental colonization by retaining indigenous musical practices while promo…
Lùlù fún wọn
In the song and music video "Lùlù fún wọn" (Drum for them), Ìjálá artist Kojo Àyánwọlá praises Lágbájá, whose name means "somebody, anybody, nobody." It is a peculiar challenge for a poet to sing praises for such a person. Yorùbá praise poetry, known as oríkì, canonically identifies one's place of origin, family heritage, and good deeds. According to Lágbájá's oríkì, his mother is the one who sells cowskin, which could be just about anyone. Lágbá…
Hooked on Sol-Fa
Sarah Ann Glover (1785-1867) believed that singing was for the public good and Samuel Àjàyí Crowther (1809-91) thought that speech tones should be preserved in writing. Their stories illustrate that diversity in thought may encounter obstacles, but can ultimately shape human consciousness. While this shows a positive side of missionary work, bringing people and ideas together, the transmission of Glover's and Crowther's ideas was mediated by the …
Contour Recursion and Auto-Segmentation
Contour recursion,a pattern of ups and downs found at multiple indices in an ordinal pitch series, is proposed as a basis for melodic segmentation and a computational method. The continuous C+ matrix (CONTCOM) is introduced with a moving window of degrees of adjacency that accommodates analysis of unsegmented pitch series. CONTCOM converts an ordinal pitch series into contour slices in an abstraction of pitch space that uses contour levels instea…
Decolonizing the Mind Through Song
For post-colonial African musicians, decolonization became an imperative. Singing in one's native language was not creative expression alone, but also a reclamation of indigenous culture and identity. In Decolonising the Mind, Ngũgĩ wa Thiong'o makes a case for African literature to be written in African languages. He also points out that singers and musicians have resisted mental colonization by retaining indigenous musical practices while promo…
Hooked on Sol-Fa
Sarah Ann Glover (1785-1867) believed that singing was for the public good and Samuel Àjàyí Crowther (1809-91) thought that speech tones should be preserved in writing. Their stories illustrate that diversity in thought may encounter obstacles, but can ultimately shape human consciousness. While this shows a positive side of missionary work, bringing people and ideas together, the transmission of Glover's and Crowther's ideas was mediated by the …
Lùlù fún wọn
In the song and music video "Lùlù fún wọn" (Drum for them), Ìjálá artist Kojo Àyánwọlá praises Lágbájá, whose name means "somebody, anybody, nobody." It is a peculiar challenge for a poet to sing praises for such a person. Yorùbá praise poetry, known as oríkì, canonically identifies one's place of origin, family heritage, and good deeds. According to Lágbájá's oríkì, his mother is the one who sells cowskin, which could be just about anyone. Lágbá…
Contour Recursion and Auto-Segmentation
Contour recursion,a pattern of ups and downs found at multiple indices in an ordinal pitch series, is proposed as a basis for melodic segmentation and a computational method. The continuous C+ matrix (CONTCOM) is introduced with a moving window of degrees of adjacency that accommodates analysis of unsegmented pitch series. CONTCOM converts an ordinal pitch series into contour slices in an abstraction of pitch space that uses contour levels instea…
Contour Recursion and Auto-Segmentation
Contour recursion,a pattern of ups and downs found at multiple indices in an ordinal pitch series, is proposed as a basis for melodic segmentation and a computational method. The continuous C+ matrix (CONTCOM) is introduced with a moving window of degrees of adjacency that accommodates analysis of unsegmented pitch series. CONTCOM converts an ordinal pitch series into contour slices in an abstraction of pitch space that uses contour levels instea…
Lùlù fún wọn
In the song and music video "Lùlù fún wọn" (Drum for them), Ìjálá artist Kojo Àyánwọlá praises Lágbájá, whose name means "somebody, anybody, nobody." It is a peculiar challenge for a poet to sing praises for such a person. Yorùbá praise poetry, known as oríkì, canonically identifies one's place of origin, family heritage, and good deeds. According to Lágbájá's oríkì, his mother is the one who sells cowskin, which could be just about anyone. Lágbá…
Hooked on Sol-Fa
Sarah Ann Glover (1785-1867) believed that singing was for the public good and Samuel Àjàyí Crowther (1809-91) thought that speech tones should be preserved in writing. Their stories illustrate that diversity in thought may encounter obstacles, but can ultimately shape human consciousness. While this shows a positive side of missionary work, bringing people and ideas together, the transmission of Glover's and Crowther's ideas was mediated by the …
Decolonizing the Mind Through Song
For post-colonial African musicians, decolonization became an imperative. Singing in one's native language was not creative expression alone, but also a reclamation of indigenous culture and identity. In Decolonising the Mind, Ngũgĩ wa Thiong'o makes a case for African literature to be written in African languages. He also points out that singers and musicians have resisted mental colonization by retaining indigenous musical practices while promo…
Ojú l’ọ̀rọ̀ọ́ wà
Living traditions of praise-singing are found throughout sub-Saharan Africa, bridging orality, literacy, digital media and the internet. The transcribed text has been the primary focus of scholarship on African oral traditions. Because of the growing number of digital audiovisual recordings available on streaming and social media platforms, it is possible to analyse more modalities of praise-singing. Along with fieldwork observations, this articl…
Onset and Contiguity
Onset (metric position) and contiguity (pitch adjacency and time proximity) are two melodic features that contribute to the salience of individual notes (core tones) in a monophonic voice or polyphonic texture. Our approach to reductions prioritizes contextual features like onset and contiguity. By awarding points to notes with such features, our process selects core tones from melodic surfaces to produce a reduction. Through this reduction, a ne…
Reconstructing Afrobeat as a Scene-Based Genre
In 1960s–70s Lagos, a nascent musical movement formed fusing West African highlife and American popular music, fortified by James Brown’s 1970 tour of West Africa. Political corruption was confronted by music, catapulting Felá Kuti to international fame and silencing ?égún Bucknor. Kuti’s positive impact is diminished because Afrobeat became more of a brand than a genre among international audiences. Evidence from an audio survey (n=168) conducte…
Commentary
Qian Rong's translation offers a new perspective to Western scholars on singing in tone languages because her article was not originally composed for an English-language audience, but addresses Mandarin text-setting for a Mandarin-speaking audience.Most English-language scholarship on text-setting in tone languages must introduce and explain the language and the music within the same text.As English is not a tone language, the concerns seem pecul…
Melodic Organization and Sequential Ordering of Galant Schemata
This article discusses the organization of galant schemata (Gjerdingen 2007) and its significance across the continuum of music-making from composition to improvisation (Nettl 1974). In Section 1, we argue that galant schemata should be defined more clearly as skeletal core tones, outlines for diminution, and surface formulas after Rabinovitch 2018, 2019a, and 2020a (see also Baragwanath 2020). We compare this organization briefly to additional m…
Art (8 works) · Computer Science (5 works) · Aesthetics (4 works) · Linguistics (4 works) · Literature (4 works) · Neuroscience and Music Perception (4 works) · Philosophy (4 works) · Artificial Intelligence (3 works) · Melody (3 works) · Music History and Culture (3 works)