gyil research

SELECTED RESOURCES:

AUDIO:

Addy, Mustapha Tetty. The Royal Drums of Ghana. WeltWunder Records, CD WW
102-2.

Bewaare: They are coming, Dagaare Songs and Dances from Nandom, Ghana. Pan
Records, PAN 2052CD.

Ghana: Music of the Northern Tribes. Lyrichord Discs Inc. 1976.

Global Guaranty Orchestra. Four Stars. Ninth World Music, NWM 023CD.

Lobi, Kakraba, Song of Legaa. Lyrichord Discs, LYR-CD-7450.

Woma, Bernard. Dagara Yielu. (Accra, Ghana, 1998).

__________. The Flow of Time. (State University of New York, Freedonia).

__________. In Concert with Mark Stone and Kofi Ameyaw. Jumbie Records, 2003.

Woma, Bernard and Chris Wabich, Crossroad. Kunaki.LCC 2009.

VIDEO:

Dagara Bewaa Culture Group featuring Bernard Woma. Xylophone Music and Dance of Northern Ghana. (Accra, Ghana: Spectrum 3 Ltd., 2001).

SELECTED BIBLIOGRAPHY:

Agawu, Kofi. Representing African Music. New York: Routledge, 2003.

Agordoh, A.A. Studies in African Music. Ho, Ghana: New Age Publications, 1994.

Anderson, Lois Ann. “The African Xylophone.” African Arts 1, no. 1 (Autumn 1967) :
46-49, 66-69.

__________. “The Miko modal system of Kiganda xylophone music.” Ph.D diss.,
University of California, Los Angeles, 1968.

Bae, Yoo Jin. “The Distribution, Construction, Tuning, and Performance of the African
Log Xylophone.” D.M.A. diss., Ohio State University, 2002.

Bodomo, Adams. The Structure of Dagaare. Stanford: CSLI Publications, 1997.

Campbell, Corinna. “Gyil Music of the Dagarti People: Learning, Performing, and
Representing a Musical Culture.” M.M. thesis, Bowling Green State University, Bowling Green, OH, 2005.

Chernoff, John Miller. African Rhythm and African Sensibility. Chicago: University of
Chicago Press, 1979.

Cooke, Peter. “Music in a Ugandan Court,” Early Music 24 (1996) : 439-52.

__________. “Ganda Xylophone Music: Another Approach.” African Music 4 (1970) :
62-80.

Godsey, Larry Dennis. “The use of the Xylophone in the Funeral ceremony of the Birifor
of Northwest Ghana.” Ph. D. diss., University of California, Los Angeles, 1980.

__________. “The Use of Variation in Birifor Funeral Music,” Selected Reports in Ethnomusicology 5 (1984) : 67-80.

Goody, Jack. Death, Property and the Ancestors. Stanford: Stanford University Press,

_________. The Myth of the Bagre. London: Oxford University Press, 1972.

Hawkins, Sean. “The Interpretation of Naangmin: Missionary, Ethnography, African
Theology, and History Among the LoDagaa.” Journal of Religion in Africa 28,

1 (February, 1998) 32-61.

Hood, Mantle, and Harold C. Fleming. “Africa and Indonesia: The Evidence of the
Xylophone and Other Musical and Cultural Factors,” Ethnomusicology 10, no. 2
(May 1966) : 214-418.

Johnston, Thomas F. “Mohambi Xylophone Music of the Shangana- Tsonga,” African Music 5, no. 3 (1973-74) : 86-93.

__________. “How to make a Tsonga xylophone.” Music Educators Journal 63 (Nov.
1976) : 38-49.

Jones, A.M. ed., Studies in African Music. Vol. 1. London: Oxford University Press

__________. Africa and Indonesia. Leiden, Netherlands: E. J. Brill, 1971.

Kubik, Gerhard. “Compositional Techniques in Kiganda Xylophone Music with Introduction into Some Kiganda Musical Concepts,” African Music 4, no. 3 (1969) : 22-72.

Lawrence, Sidra Meredith “Killing My Own Snake: Fieldwork, Gyil, and Processes of
Learning.” M.M. thesis, Bowling Green State University, Bowling Green, OH,

Lentz, Carola. “A Dagara Rebellion Against Dagomba Rule? Contested Stories of
Origin in Northwest Ghana.” The Journal of African History 35, no. 3 (1994) :
457-492.

__________. “Local Culture in the National Arena: The Politics of Cultural Festivals in
Ghana,” African Studies Review 44, no. 3 (December 2001) : 47-72.

Locke, David. “The Music of Atsiagbecko.” Ph.D. diss., Wesleyan University,
Middletown, CT, 1979.

Mattingly, Rick. “The West African Gyil,” Percussive Notes 38, no. 5 (October 2000) : 33.

Mensah, A.A. “Musicality and Musicianship in Northwest Ghana.” Research Review,
University of Ghana, Institute of African Studies 2 (1965) : 42-45.

___________. “Further Notes on Ghana’s Xylophone Traditions.” Research Review,
University of Ghana, Institute of African Studies 3 (1967) : 62-65.

___________. “The Polyphony of Gyil-gu, Kudzo and Awutu Sakumo.” Journal of the
International Folk Music Council 19 (1967) : 75-79.

Mensah, A.A. “Gyil: The Dagara-Lobi Xylophone.” Journal of African Studies 9, no.3
(1982) : 139-154.

Naranjo, Valerie. “My Introduction to the Gyil,” Percussive Notes 36, no. 6 (December 1998) : 26-36.

Nketia, J.H. Kwabena. African Music in Ghana. Chicago: Northwestern University
Press, 1963.

__________. The Music of Africa. New York: W.W. Norton & Company, Inc. 1974.

Saighoe, Francis K. “Dagaba Xylophone Music of Tarkwa, Ghana: A Study of
Situational Change,” Current Musicology 37/38 (1984) : 167-175.

__________. “The Music Behavior of Dagaba Immigrants in Tarkwa, Ghana: A
Study of Situational Change.” Ph.D. diss., Columbia University, 1988.

Seavoy, Mary Hermaine. “The Sisaala Xylophone Tradition.” Ph.D. diss. University of
California, Los Angeles, 1982.

Somé, Malidoma Patrice. Of Water and the Spirit. New York: Penguin Books Inc.,

Strumph, Mitchel. Ghanaian Xylophone Studies. University of Ghana, Institute of
African Studies : 1970.

Tengan, Alexis B. “Dagara ‘Bagr’: Ritualizing Myth of Social Foundation,” Africa:
Journal of International African Institute 69, no. 4 (1999) : 595-633.

Wiggins, Trevor. “Techniques of Variation and Concepts of Musical Understanding in
Northern Ghana,” British Journal of Ethnomusicology, 7 (1998) : 117-142.

__________. “The Xylophone Tradition of North-West Ghana” in Composing the Music
of Africa. ed. Malcolm Floyd. Brookfield VT: Ashgate Publishing Co. 1999.

Wiggins, Trevor and Joseph Kobom. Xylophone Music From Ghana. Reno NV: White
Cliffs Media Company, 1992.