Academic literature on the topic 'Gospel music zimbabwe'

AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.

AbstractThis paper explores, analyses and discusses Zimbabwean gospel song themes from 1980 up to 2007 in relation to the Zimbabwean political and socio-economic situations in the country. The history of the socio-economic and political development of Zimbabwe during 1980-2007 would certainly be incomplete without including gospel music. Until about the mid-1980s, the general atmosphere in the newly-independent state of Zimbabwe was characterized by liberation euphoria and great optimism for the future. Equally so, local gospel music during this period was largely celebrative and conformist as far as the political and socio-economic dispensation was concerned. Socio-economic hardships crept in as a result of the government's implementation of neo-liberal economic reforms under the guidance of the World Bank and the International Monetary Fund (IMF) during the early 1990s. The ruling party soon found itself confronted by a multitude of gospel musicians criticizing its policies and malpractices. Works of various gospel artistes will be used as evidence but due to issues of space, it has not been possible to cover all Zimbabwean gospel artists.

The article critiques Mathias Mhere’s gospel music from an Afrocentric perspective within the context of complexities and maladies that have impacted negatively on the majority’s livelihoods in Zimbabwe’s post-2000 period. The maladies have seen society marshalling different strategies and oral art forms to keep people’s spirits buoyant. Oral art forms have always been at the centre of African experience, constituting a repository of the philosophy of life as desired, imagined, and treasured among most indigenous families and communities. In the absence of the oral folklore and oral art forms of yesteryear that were used to inculcate communal values and skills to self-define and safeguard cultural spaces, gospel music has made inroads and carved an indelible niche that needs critical attention. This strategy is not novel to Zimbabwe. Music as an oral and performance art has always been deeply ingrained in most social activities to raise and censure conduct across all ages for society’s greater good, including cementing the social fabric, and fostering social cohesion and stability among most indigenous families and communities. In the recalcitrant environment, fraught with a myriad of maladies and many a family in dispersion, gospel music in the indigenous languages becomes critical in exhorting and censuring attitudes, conduct and desires in order to uphold treasured values. Family dispersions disrupted institutions and fractured relationships, further fanning insecurities and imbalances. It is from this angle that this article makes a critical analysis of Mathias Mhere’s gospel lyrics. Mhere is one of the most popular young gospel artists whose albums have been hits on the Zimbabwean music charts. The article therefore examines the forte behind Mhere’s gospel music in the Zimbabwean post-2000 maladies. It also interrogates Mhere’s artistic creativity, sensitivity and commitment to sustainable livelihoods and survival in post-2000 Zimbabwe’s fractious environment.

The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.

This thesis explores, traces, analyses and discusses the development and evolution of Zimbabwean gospel music from 1980 up to 2007. Gospel music in this study defines urban black music culture which is influenced by Christian religion as well as gender, foreign music cultures, indigenous music, the economic and political climate of the country. A general overview of gospel music in Zimbabwe is given including the history of Zimbabwean gospel music and the gospel music industry. Relevant literature on gospel music is reviewed. Selected Zimbabwean gospel musicians and their music are discussed. Methods of collecting data are discussed and their strengths and weaknesses are outlined. Mainly the survey method is used and questionnaires, observation and document analysis are used as instruments of data collection. Gender issues are discussed in relation to Zimbabwean gospel music and the impact of gender on music is also noted. The effects of foreign and indigenous music on Zimbabwean gospel music are explored and analyzed through transcription and analysis of selected songs but it is not the researcher’s intention to go into deep musicological content in the analysis. Political and socio-economic influences on Zimbabwean gospel music are the main focus. The history of the socio- economic and political development of Zimbabwe during 1980- 2007 is explored in relation to gospel music. Until about the mid 1980s, the general atmosphere in the newly-independent state of Zimbabwe was characterized by liberation euphoria and great optimism for the future. Equally so, local gospel music during this period was largely celebrative and conformist as far as the political and socio-economic dispensation was concerned. Socio-economic hardships crept in as a result of the government’s implementation of neo-liberal economic reforms under the guidance of the World Bank and the International Monetary Fund (IMF) during the early 1990s. The ruling party soon found itself confronted by a number of gospel musicians criticizing its policies and malpractices. The lyrics of various gospel artistes (song texts) are used as evidence. This research is an addition to the study of gospel music and popular culture in Africa. It is also a multidisciplinary research, handling sociology, politics, religion and music by looking at music as an expression and reflection of a socio-economic situation. The research has offered a second level of development realizing the theoretical conceptualizations through the analysis of gospel music. The research results presented, interpreted and analyzed provide implications on the future success of Zimbabwean gospel music. Recommendations on the development of Zimbabwean gospel music are also given.
Thesis (DMus)--University of Pretoria, 2010.
Music
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