>roe É^ree ^or addÊ to Éhaq to distenÊ7 S oro S olo, cu lt u ral j ou rnalist and radio produ cer, P aris, F rance 9frican cmltmre `ak `ad a _reat inÖmence F or a long t ime, mu sic w as not T oday , t h e mu sic mark et in Africa needs on emkic all over t`e oorld$ inÖmencin_ considered as a commercial commodit y t o b e rest ru ct u red, t o offset t h e w eigh t mu sic genres su ch as B lu es, J az z , B ossa in Africa. It is st ill t ru e t oday , as radio of informal economy in t h e sect or. N ova, R u mb a and many ot h ers. As is a maj or mu sic dist rib u t ion ch annel: O rganiz ed creat ion and dist rib u t ion M art in S corsese su ccessfu lly sh ow ed in people list en t o mu sic on t h e radio all societ ies are needed t o resh ape h is movie Feel Like Going Home ( 2 0 0 4 ) , t h e t ime and every w h ere, and get it for b u siness models and cont ent creat ion b lu es is relat ed t o t radit ional mu sic from free. M u sic, and more w idely cu lt u re, h as processes, w h ile st rong copy righ t M ali and N iger. American G ospel and b ecome a commercial commodit y only collect ive management societ ies mu st b e rap mu sic rh y t h m are ot h er ex amples of recently$ oit` t`e develoheent of official su pport ed t o cu t t h e informal dist rib u t ion 9frican emkic inÖmence& sales net w ork s and dist rib u t ion ch annels, ch annels and prot ect au t h ors’ righ t s. T h is M u sic in Africa ou t reach es simple ex plaining t h e import ance of informal rest ru ct u rat ion h as t o b e led t h rou gh ent ert ainment : it h as a social and economy . B u t t h ere h ave b een h ist orical amb it iou s cu lt u ral policies and t h e polit ical fu nct ion. M u sic is play ed du ring precedent s: in t h e 1 9 0 0 s, “ H igh life, ” commit ment of African government s. fu nerals and w eddings; it eit h er describ es an emerging mu sical genre in G h ana, daily difficmltiek lice Eaeadom