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1
Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.
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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.
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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.
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Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.
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Thesis (MA. (African Languages)) --University of Limpopo, 2013Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.
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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
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Rabothata, Thambatshira Tannie. "Women abuse as expressed in Tshivenda female songs." Thesis, University of Limpopo (Turfloop Campus), 2005. http://hdl.handle.net/10386/892.
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Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.
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Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.
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Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
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Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.
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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
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Bouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.
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Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.
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Accompanying music files attached (mp3)The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music. To achieve the objectives of this study I used a qualitative approach to collect and analyze data. Data collection included the use of interviews and observation. The interviewees included performers of Litungu music, whose music was audio recorded and video recorded for analysis. In addition, I made observations of the performance sites and performance behaviour, taking notes and making audio and video recording. Music for analysis was then selected on the basis that it had the silao-sikeleko component. The Bukusu cultural view of silao-sikeleko is discussed in relation to their customs and way of life. The execution of silao-sikeleko is based on a culturally conceived framework that allows the involvement of various performers in the performance composition process. Here the contexts within which silao-sikeleko is performed are identified. Analysis of the relationship between sung text and silao-sikeleko established that whereas the two are thematically unified, silaosikeleko substantiates the sung texts by facilitating an understanding of messages contained in the songs. The analysis of language use ascertained that silao-sikeleko makes use of language devices such as proverbs, idioms, symbolism, riddles and similes. I established that silao-sikeleko as a performance compositional element has its own presentational structure that influences the overall structure of the Litungu music. Litungu music has a quasi-rondoic structure whose output is not static but varies according to context and the wishes of the soloist. The soloist interprets how effectively a given message has been communicated during performance determining how much silao-sikeleko should be performed. Silao-sikeleko is in most cases composed and performed by various members of a performing group.
Arts History, Visual Arts & Musicology
D. Mus.
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Wanyama, Mellitus Nyongesa. "Form and content of African music a case study of Bukusu circumcision music /." 2005. http://upetd.up.ac.za/thesis/available/etd-10182006-105355/.
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Madalane, Ignatia Cynthia. "Ximatsatsa: exploring genre in contemporary Tsonga popular music." Thesis, 2012. http://hdl.handle.net/10539/11543.
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M.A., Faculty of Humanities, University of the Witwatersrand, 2011While much has been written on black South African popular music (see, for example, Anderson, 1981; Coplan, 1985; Erlmann, 1991; Meintjes, 2003; Allen, 2004; Ansell, 2004; Muller, 2008), little has been written on Tsonga popular music. This dissertation interrogates ‘Tsonga music’, a category for naming Tsonga popular music used by many including the South African Music Awards (SAMAs); one of the few SAMA categories (others include Afrikaans, Venda and Pedi music categories) to be named by ethnicity. I question why the music is labeled the way it is and how these genre labels, which participate in global genre histories and local ethnic histories, interact with the Tsonga music category. In sum, this study explores what Louise Meintjes calls ‘genrefication’ (2003: 19) in popular Tsonga music and the meaning this has for its practitioners in a ‘glocalized’ music market (Robertson, cited in Steger, 2003). In chapter one I trace the origins of Tsonga music as it is known today. The chapter focuses on General MD Shirinda, considered the father of Tsonga music. I write about aspects of his life and the role he played in the development of contemporary Tsonga music. Chapter two pays close attention of one of the Tsonga music subgenres, ‘Tsonga traditional’ or neo-traditional music. The chapter interrogates the meaning of the Tsonga traditional label for its practitioners. Here I question the use of terms such as ‘Tsonga’ and ‘traditional’ for labeling Tsonga music. I end the chapter by discussing some characteristics of this subgenre. The third chapter follows the narrative of ‘Tsonga disco’ as told by my informants. Through the life stories of the musicians who have played major roles in the development of this subgenre, I explore how socio-political circumstances influenced the labeling of the subgenre. The chapter gives attention to the contribution to the subgenre by Paul Ndlovu, Peta Teanet, Joe Shirimani and Penny Penny. I end the chapter with a description of a live performance of Tsonga disco. Ethnicity is a recurring theme throughout the study. However, it is in chapter four that explicit attention is given to this identity marker. The chapter explores the role of ethnicity in shaping Tsonga music and how Tsonga musicians construct and affirm their ethnic and other identities in their music. Finally, I discuss the relationship between Tsonga music and the global music market.
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Nemapate, Mmbulaheni Alfred. "A study of structure, meaning and performance in Tshivenda traditional songs." Thesis, 2010. http://hdl.handle.net/10386/2190.
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Khosa, Hanyani Aubrey. "An investigation into Ku Thawuza music and dance as an indigenous art form." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001487.
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M. Tech. DanceKnowledge of cultural dances and songs is one of the key aspects necessary for a comprehensive understanding of the customs of any cultural group. This includes indigenous cultural practice of a particular cultural group, which in themselves have a plethora of different performance practices and categories that are extensive and unique in their own right. The indigenous music and dance of Vatsonga is no exception. It is against this background that this study was undertaken. This study seeks to collect, document, promote and preserve the Xitsonga indigenous art form, namely, Ku Thawuza music and dance, by means of transcribing and investigating it.
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Makhubele, Patience. "Mapaluxele ya vavasati eka tinsimu tin'wana ta Xitsonga." Thesis, 2005. http://hdl.handle.net/10386/2300.
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Ntsihlele, Flora Mpho. "Games,gestures and learning in Basotho children's play songs." Thesis, 2003. http://hdl.handle.net/10500/1768.
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Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures.
It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators.ART HIST, VIS ARTS & MUSIC
DLITT ET PHIL (MUSICOLOGY)
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Chimbarange, Advice. "An analysis of gendered metaphors in selected Zimbabwean Shona songs." Thesis, 2019. http://hdl.handle.net/10500/26532.
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This qualitative study analyses gendered metaphors in selected Zimbabwean Shona songs. The study explores how musicians deploy gendered metaphors to propagate, reinforce or challenge gender views and positions held in the Zimbabwean contemporary society. The corpus of data comprised Shona popular songs released between 1988 and 2018 and down loaded from You-tube. The songs were transcribed, translated into English and metaphors identified and interpreted using a combination of the Pragglejaz Group (2007), Steen (2007) and Charteris-Black (2004) metaphor identification methods. Charteris-Black’s (2004) Critical Metaphor Analysis was adopted as the key theory and method of analysis. The analysis drew support from Lazar's (2007) Feminist Critical Discourse Analysis, Foucault (1980) and Butler's (1990) ideas on discourse and gender. The findings reveal that Zimbabwean musicians singing in Shona discursively use gendered metaphors to construct, reinforce or challenge views and positions on gender. While the metaphors describe and evaluate men and women positively and negatively for ideological purposes, the metaphors largely marginalise women more than men. The metaphors therefore, have the effect of legitimising and naturalising male dominance in the Zimbabwean society. However, the same musicians occasionally utilise metaphor discoursal power to resist, challenge and control the dominance. Metaphors become a conduit through which topical contemporary gender issues, norms and values, gender views and positions are highlighted and debated. Two contesting ideologies were noted: one ideology emphasised that women are inferior to men and men should tolerate them for their weaknesses and the second projected women as men’s equals and that men and women roles complement each other. It is the conclusion of this study that gendered metaphors in Shona song lyrics allow musicians to discursively and for ideological purposes reinforce, contest and negotiate various gender perspectives making metaphors a powerful tool for shaping views on gender. Therefore the research, recommends that stakeholders recognise and promote the critical role played by language on inculcating gender perceptions in such domains as music, to come up with language programmes that promote gender parity and equality in society.Linguistics and Modern Languages
Ph. D. (Languages, Linguistics and Literature)
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Khotso, P. "Masculinity as a popular theme in the development of Basotho accordion music." Thesis, 2017. http://hdl.handle.net/10500/24534.
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Text in English and some in SesothoThis thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large.
Linguistics and Modern Languages
D. Phil. (Language, Linguistics and Literature)
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Mkhombo, S. M. (Sibongile Margaret). "The status of indigenous music in the South African school curriculum with special reference to isiZulu." Thesis, 2019. http://hdl.handle.net/10500/25896.
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Text in EnglishThe research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase.
Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)
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Mokgetle, Morokolo. "Mmino wa Bana: An African musicological study of Moletjie community musical practices." Thesis, 2018. http://hdl.handle.net/11602/1257.
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PhD (African Studies)Department of African Studies
Mmino wa bana (Children’s songs) are subjected to many changes today; so much so that in time it could cease to exist in its original form or be replaced by genres promoted on televisions. This study focuses on the genre as practised in the Moletjie community. The study explores mmino wa bana by examining its musicological elements, educational validity, and the general social functions within the context of the Moletjie community. By providing insight into these aspects, we could be able to ascertain the transportability of musical elements and philosophies across many contexts. Twenty-one children’s songs were collected for the study. In addition, interviews were conducted with elders and members of the Moletjie royal family to capture the narrative views of the genre. Additional information was also captured in the form of diary notes. The study used an Afrocentric approach as its theoretical framework. The design was qualitative with semi structured interviews functioning as the mode of data collection. For analysis, music programs were used. The body of knowledge emanating from the study is packaged in such a way that it could be used by scholars in African musicology, policy planners, and others interested in the culture of the people of Moletjie community. The school will also find the study to be a useful resource in crafting textbooks for classroom purposes.
NRF
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Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
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Text in EnglishThis case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.
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James, Deborah. "Mmino wa setso: songs of town and country and the experience of migrancy by men and women from the northern Transvaal." Thesis, 1993. https://hdl.handle.net/10539/25417.
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A thesis submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in
fulfilment of the requirements for the Degree of Doctor of Philosophy.The thesis attempts to illuminate the process through which identitities, apparently strongly "ethnic", are constructed by migrant women, and to examine how these differ from the equivalent identities constructed by men. The focus is upon northern Transvaal migrancy, and special emphasis is given to the central role played by musical performance - particularly that of the style called kiba - in constituting migrant associations. Men and women form separate dance associations: the thesis is concerned particularly with migrant women, and sets the dance groups in the broader setting of female migrancy in southern Africa. This is a phenomenon which has been neglected in the literature. The thesis criticises the adaptive emphasis of earlier Writings on migrant association, and the lack of "local knowledge" in Marxist accounts, Performers of the genre emphasise that the music is "traditional",and their lyrics legitimate the present experiences of contemporary composers by juxtaposing them with the past experiences of older ones. They view the roles they play in relation to their family members both living dependents and deceased forebears - in terms of stereotypes laid down by Sotho custom. But these independent migrant female performers of the genre, in contrast to their rurally-domiciled and. dependent counterparts, are women whose disrupted and geographically mobile upbringing has led them to seek out modernity and progress rather than an adherence to the ways of "traditionalists". They are primary breadwinners for their natal families. Custom and tradition provide an idiom in terms of which, while retaining affiliations to men's kiba sufficient to ensure their continued access to a performance space and an audience, they enunciate an identity as relatively autonomous and emancipated migrants in an urban context.
Andrew Chakane 2018
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Malobola-Ndlovu, Johanna Nurse. "Functions of children's games and game songs with special reference to isiNdebele : the young adult's reflections." Thesis, 2018. http://hdl.handle.net/10500/25254.
Full textAbstract:
Children’s games and game songs are part of the traditional literature that was handed down from generation to generation by a word of mouth. The study focuses on the functions of children’s games and game songs as reflected by the young adults. The research study was conducted amongst the Southern amaNdebele in Gauteng and Mpumalanga provinces. The researcher chose two municipalities in Mpumalanga province, which is Dr JS Moroka and Thembisile Hani. In Gauteng, the research was conducted in the three townships, which are Soshanguve, Mamelodi and Atteridgeville. The researcher used both quantitative and qualitative methods to collect and analyse data. Data was collected by using interviews, questionnaires, observation and other related books and documents. The coding schemes i.e. open coding and axial coding were used to collect and interpret data. Open coding helped the researcher to identify different types of games and game songs performed by children. Axial coding assisted the researcher to regroup games and game songs with similar skills and attributes together for further analysis. Lastly, the axial coding provided the researcher with the broader functions of games and game songs. To achieve the aim of the study the researcher collected children’s games and game songs, identified different types of games and game songs and provided a detailed analysis of their functions. The functions of games and game songs were outlined as follows: physical, social, emotional, psychological, moral, and fun or entertainment, mental development and to while away time. Additionally, the researcher discovered that games and game songs help in the cleaning of the environment. She further established that some games and game songs were carried forward by word of mouth from generation to generation without any changes and that neighbouring languages have influenced some. The researcher asserts that children in schools perform most games and game songs and they learn them from their peers and from the environment in which they grow up. The researcher recommended that some games and game songs could be integrated in the formal programs of teaching and learning. Furthermore, the games and game songs that have been collected should be preserved for future use.African Languages
D. Litt. et Phil. (African Languages)
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Dhlamini, Nozizwe. "Music as a medium of protest : an analysis of selected Kalanga music." Thesis, 2017. http://hdl.handle.net/10500/23380.
Full textAbstract:
The study explores the theme of protest as encoded in selected Kalanga music. In particular, the study focuses on the analysis of songs sung by Kalanga musicians such as Chase Skuza, Ndux Junior and Batshele Brothers, Ndolwane Super Sounds and Tornado Heroes within the period 2000-2013.The selected period is generally considered to be a crisis period in Zimbabwe. Further, the study also relies on views from key respondents obtained through semi structured interviews and questionnaires. The research adopts the Critical Discourse Analysis (CDA) framework and the hegemony theory to help identify the discourses as encoded in the theme of protest in Kalanga music. The two frameworks are engaged because they challenge critical thinkers to move away from seeing language as immaterial to acknowledging and believing that words are meaningful in specific political, social and historical contexts. The study establishes that Kalanga music is protest art that speaks on behalf of the people by pointing out the injustices and malpractices that take place in society. The selected music demonstrates the battles that are ongoing that the musicians are protesting against. The study notes that protest music raises the consciousness of the citizens on the wayward behaviour of individuals and institutions. The protest themes identified include; corruption, poor governance and poor leadership, unfulfilled promises, lack of unity, repressive and oppressive laws, a skewed representation of the nation’s history, deployment of Shona teachers in Matabeleland, decrying moral decadence, protest against jealousy and envy and protest against xenophobia. Findings of the study also demonstrate that music goes beyond simply reflecting and describing situations but it also becomes an avenue through which discursive spaces are opened. The study also shows that Kalanga music provides alternative platforms for the articulation of matters generally considered taboo within Zimbabwean spaces, Kalanga music has a potential to contribute to national cohesion and national growth using its constructive criticism of the political, social and economic state of Zimbabwe. The study has clearly enunciated that protest music assists in the interrogation of a society’s moral compass and in turn question some convictions. Kalanga songs are not merely frivolous components of various sects of Zimbabwean culture, or passing sources of insignificant entertainment. Instead, they and their singers are critical contributors to the shaping of those eras, playing irreplaceable roles as they spur collective mindsets of protest across many social aggregates through their appeal to the desires, the morals, the lamentations, the angers and the passions of the Kalanga people.Linguistics and Modern Languages
Ph. D. (Languages, Linguistics and Literature)
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Mudzanire, Benjamin. "An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe : a search for the contemporary leitmotifs." Thesis, 2016. http://hdl.handle.net/10500/22600.
Full textAbstract:
The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessment of the discourse of politics and socio-economic issues in popular music. For all the analysis, an Afrocentric eye view informs the thesis.
Being qualitative in perspective, the research mainly uses the hermeneutic research design as an operational framework for the interpretation of lyrical data. Hermeneutics, as a method of textual analysis, emphasizes the socio-cultural and historic influences on qualitative interpretation. Postcolonial Shona popular music is purposively sampled and critically studied using the hermeneutic method to tease out latent social and political nuances in lyrical data. Interviews are roped in as alternative opinions to validate hermeneutic data.
The research observes that the legislative environment in which Zimbabwean popular music is composed is, on paper, very conducive for the art but in practice severely restrictive. The constitution allows the artiste sufficient space to sing any subject but confessions by some critics alert on the incidences of some censored products. Even against that backdrop artistes have gone on to compose politically suggestive music. However, from the first decade of independence, the tendency for the artiste has been to flow with the meta-narrative or hegemonic discourses of the state, while in the later decades the artiste sounds critical of the nationalist government. Realising the power of music to articulate serious national issues; among other prescriptions, the study recommends that government creates a flexible and democratic legislation that allows for unbounded creativity and consumption of artistic products.African Languages
D. Litt. et Phil. (African Languages)
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Raditladi, Lobone Arthur. "The perceived psychosocial contributions of choral singing in a Setswana-speaking community." Diss., 2017. http://hdl.handle.net/10500/23756.
Full textAbstract:
Choral music has played an important role in the liberation of South African people, and it is still very popular today, including among Setswana-speaking choral groups. This study looks at the role of music, particularly choral music, in the expression of Setswana-speakers’ identity as well as the psychological effects on the psychosocial well-being of the choristers. A qualitative research approach, supported by in-depth interviews, was adopted in this study to better understand the singing experiences of two male choir conductors and two female choristers. For this purpose, thematic analysis technique was employed. The results indicate that singing in the choir contributes to the choristers’ physical, emotional, mental, social, and spiritual well-being as well as to their identity formation. Participants also highlighted challenges such as time constraints, poor leadership, socio-economic conditions, unforeseen circumstances,
discrimination against younger members, love affairs, and gossip within the choral groups. The results indicate a positive and socially engaging contribution of choral music in the expression of identity as well as in the sense of belonging and connection of choristers. The findings are in line with the literature and indicate that participation in a choir enhances and strengthens
psychosocial well-being, that is self-discipline, healthy lifestyle, self-confidence, self-esteem, motivation, physical fitness, emotional expressivity, emotional processing and stress relief, social responsibility, moral growth and development, mental alertness and focus, upliftment and inspiration, connection with God, and nurtures the community social fabric.Psychology
M.A. (Clinical Psychology)
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Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
Full textAbstract:
Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).Art history, Visual Ars and Musicology
D. Mus
28
Manqele, Zandile Heavygirl. "Zulu marriage values and attitudes revealed in song : an oral-style analysis of Umakoti Ungowethu as performed in the Mnambithi region at KwaHlathi." Thesis, 2000. http://hdl.handle.net/10413/5670.
Full text
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Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.
Full textAbstract:
PhD (African Studies)Centre for African Studies
It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education.
NRF
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Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.
Full textAbstract:
In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.