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Journal articles on the topic 'Indigenous african music education'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.

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Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.

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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.

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de Villiers, Alethea. "The transformation of music education: A South African case study." British Journal of Music Education 32, no. 3 (November 2015): 315–22. http://dx.doi.org/10.1017/s0265051715000376.

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In this paper I reflect on transformation in South African education policy, post-1994. The new curriculum for schools was underpinned by the democratic values of the constitution and was a time of renewal for music education. However, over time as the original curriculum documents were revised, the focus of promoting indigenous traditions was abandoned and replaced by an overtly Western approach to music education. It is against this background that I also reflect on the transformation that occurred as a result of a continuing professional development programme that arose from a need to improve curriculum implementation in the arts.

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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (May 19, 2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.

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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the teaching and learning of Music and Dance. Using the cultural theory of Education as the theoretical framework, and a case study research design, participants were drawn from the pupils, the music teacher as well as the headteacher of the school. Interview and observation were the main instruments for the data collection. It was revealed that teaching of music and dance in the Tamale International School was a problem due to the fact that the school is one of the Western colonized schools with much historical orientation on Western music thereby relegating African music to the background. Attitudes of pupils towards the study of African music component of the music and dance syllabus being negative due to their religious background and the orientation received from their parents. Situated within the cultural education theory, the paper concludes that when students are given the opportunity to learn traditional music very often at school, it will help them to know theirs as Africans and embrace it in spite of their orientations from their religious background.

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Lebaka, Morakeng Edward Kenneth. "Modes of Teaching and Learning of Indigenous Music Using Methods and Techniques Predicated on Traditional Music Education Practice: The Case of Bapedi Music Tradition." European Journal of Education 2, no. 1 (April 30, 2019): 62. http://dx.doi.org/10.26417/ejed-2019.v2i1-55.

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This paper takes a look at music education in Bapedi society in Sekhukhune district, Limpopo Province in South Africa as the transmission of musico-cultural manifestations from one generation to the other. The aim is to investigate the modes of transmission of indigenous Bapedi music. Music teaching and learning in Bapedi society is an integral part of cultural and religious life, and is rich in historical and philosophical issues. Traditional music knowledge system produces a better result to the teaching and learning of indigenous music in Bapedi culture. The research question of interest that emerges is: What are the modes of transmission for indigenous Bapedi music during the teaching and learning process? The primary source for data collection was oral interviews and observations. Secondary sources include theses, books and Journal articles. Performances were recorded in the form of audio-visual recordings and photographs. The results have shown that in Bapedi society, learning music through participation has been a constant practice. The transmission process involves participation, fostering of communal sense, concentration on the present moment and the use of musico-cultural formulae and cues for interactional purposes. It was concluded that in Bapedi society, creative music making and music identity are the obverse sides of the same coin, in that the former provides an arena in which the latter can be explored.

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Bolaji, David. "Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 58–68. http://dx.doi.org/10.4314/ijah.v9i1.6.

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This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music. Key Words: Hard Work, Philosophical Perspective, Art Music and African Music

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Kalinde, Bibian, and Dorette Vermeulen. "Fostering children’s music in the mother tongue in early childhood education: A case study in Zambia." South African Journal of Childhood Education 6, no. 1 (December 3, 2016): 9. http://dx.doi.org/10.4102/sajce.v6i1.493.

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The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.

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E.O., Acquah, and Owusu-Ansah J. "Abele Indigenous Musical Genre in the Context of Yeji Kajoji Festival." African Journal of Culture, History, Religion and Traditions 4, no. 1 (May 29, 2021): 29–40. http://dx.doi.org/10.52589/ajchrt-8dj4tji6.

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The role of indigenous musical performances in traditional festivals has been very significant in the lives of Africans. In Ghana, some of such festivals are pivoted on particular distinctive natures of the indigenous music. One of such musical genres is the Abele music performed by the people of Yeji in the Bono-East region of Ghana. This music is formalized in the context of the Kajoji festival celebrated annually by the community. Through ethnographic research design, the study documents the role of Abele music in the context of the Yeji Kajoji annual festival. The reason is to add to the literature of traditional music scholarship in Ghana while the source materials from the music can be used in the music classroom for music learning. In dealing with the study, participant’s observation and interview were used to collect the needed data. Participants for the study included some purposely selected members of the Abele musical ensemble as well as the paramount chief of the area. It was found out that the Kajoji festival is a very vital mainspring of the traditional education and the remit of the people’s culture while the Abele music serves as the side attraction of this festival.

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Carver, Mandy. "KNOWLEDGE TRANSFER: INDIGENOUS AFRICAN MUSIC IN THE SOUTH AFRICAN MUSIC CURRICULUM." African Music: Journal of the International Library of African Music 10, no. 3 (2017): 119–41. http://dx.doi.org/10.21504/amj.v10i3.2199.

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Kaya, Hassan O., Gregory H. Kamwendo, and Leonce Rushubirwa. "African Indigenous Languages in Higher Education." Studies of Tribes and Tribals 14, no. 2 (December 2016): 121–28. http://dx.doi.org/10.1080/0972639x.2016.11886739.

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Kibera, Prof Lucy Wairimu. "Decolonizing Moral Education." International Journal for Innovation Education and Research 8, no. 11 (November 1, 2020): 14–20. http://dx.doi.org/10.31686/ijier.vol8.iss11.2688.

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This paper has examined the importance of African Indigenous Moral Education versus Moral Education introduced by the colonizers in maintaining social fabric. In doing so, concepts pertaining to colonialism, decolonization, education, morals, have been defined. Further, aims of education of African Indigenous people have been articulated as well as their status in these societies and corresponding state of morality among Indigenous African people versus the rest of the world today. Finally, suggestions towards integration of African Indigenous Moral Education into school curriculum has been made.

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12

Rose, Andrea M. "A Place for Indigenous Music in Formal Music Education." International Journal of Music Education os-26, no. 1 (November 1995): 39–54. http://dx.doi.org/10.1177/025576149502600104.

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Lebaka, Morakeng E. K. "Misconceptions About Indigenous African Music and Culture: the Case of Indigenous Bapedi Music, Oral Tradition and Culture." European Journal of Social Sciences 2, no. 2 (May 30, 2019): 18. http://dx.doi.org/10.26417/ejss-2019.v2i2-61.

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Indigenous Bapedi music and oral tradition have been dismissed as myth, superstition and primitive stories. Such dismissal has been based on the misconception and assumption that indigenous Bapedi music and oral tradition are proletarian, steeped in evil religious experiences and unacceptable for worship. In Bapedi society, indigenous music and traditional oral stories are utilized to buttress and demonstrate the collective wisdom of Bapedi people, as well as to transmit Bapedi culture, values, beliefs and history from generation to generation. This article examines misconceptions about indigenous Bapedi music and traditional oral stories. It argues that indigenous Bapedi music and oral tradition should not be dismissed at face value as practices overtaken by circumstances and hence irrelevant to the present Bapedi community developmental needs. The findings of the present study faithfully reflect that indigenous Bapedi songs and traditional oral stories resonate in people’s personal lives, in religious rituals and in society at large. These findings suggest that Bapedi people should keep and perpetuate their valuable heritage, which is still needed for survival and for the welfare of our next generation. The main question the study addressed is: What role do indigenous Bapedi music and oral tradition play in Bapedi culture?

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14

Wandera, Moses. "Indigenous African Education for Socio- Economic Development." Msingi Journal 1, no. 1 (August 27, 2018): 267–316. http://dx.doi.org/10.33886/mj.v1i1.64.

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Education in Africa has been in existence since time immemorial. This study sought to examine the activities of Lantana in Benin on their specialised training, Dogon of Mali in their world view, Futo Toro of Senegal in their various trades, Poro of Sierra Leone in the training of the youth, Takensi of Ghana in their social order and the Akan of Ghana. Also examined are the activities of the Chamba and Yoruba of Nigeria in their adult centred training and forecasting of the future respectively. The Chagga of Tanzania and the Abakwayaare were also examined on their initiative plays and economic activities. The paper also studied the Ndembu of Zambia on the past analysis and the activities of the Mijikenda of Kenya among other Kenyan tribes. The study used the theoretical framework of Emile Durkheim on the social and moral order, while the design of the study was on content analysis of available information and expectations. The study recommends positive approaches in the indigenouseducation that can be adapted, mainly for Kenya in its desire to achieve Vision 2030. However, further research should be done on specific values, foods, attitudes and the rule of law, how achieve social, political and economic progress in African nations and especially how the current economic integration blocks have followed the same pattern of the communities and their values.

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Bunyi, Grace. "Rethinking the place of African indigenous languages in African education." International Journal of Educational Development 19, no. 4-5 (July 1999): 337–50. http://dx.doi.org/10.1016/s0738-0593(99)00034-6.

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Oehrle, Elizabeth. "ISME and African Music." International Journal of Music Education os-8, no. 1 (November 1986): 51–52. http://dx.doi.org/10.1177/025576148600800113.

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Kalu, Ogbu U. "Holy Praiseco: Negotiating Sacred and Popular Music and Dance in African Pentecostalism." Pneuma 32, no. 1 (2010): 16–40. http://dx.doi.org/10.1163/027209610x12628362887550.

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AbstractIn post-colonial Africa, Pentecostal-Charismatic Christianity has slowly emerged as an influential shaper of culture and identity through its use of music, media, and dance. This article gives an overview of the transitions that have occurred in African politics, identity awareness, and culture, especially as it relates to the indigenous village public and it’s interface with the external Western public, and how the emergent cultural public has become the most influential player in shaping the African moral universe. Pentecostal-Charismatic Christianity has navigated the shift from a missionary-driven avoidance of indigenous music and dance to the incorporation of indigenous elements, leading in turn to the popularization of Pentecostal music and dance that blends indigenous forms and concepts, Christian symbolism, and popular cultural expressions. The resulting forms have not only shaped Christianity, but also the surrounding culture and its political environment.

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Lee, Pyng-Na. "Cultural inheritance on indigenous music education: a Paiwanese music teacher’s teaching." Music Education Research 22, no. 2 (March 14, 2020): 159–72. http://dx.doi.org/10.1080/14613808.2020.1739010.

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Edward Kenneth Lebaka, Morakeng. "‘Interaction through music’: the transmission of indigenous African music with a focus on Pedi traditional healers’ music." Muziki 10, no. 2 (November 2013): 56–74. http://dx.doi.org/10.1080/18125980.2013.844981.

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Mapaya, Madimabe Geoff. "African Musicology: Towards Defining and Setting Parameters of the Study of the Indigenous African Music." Anthropologist 18, no. 2 (September 2014): 619–27. http://dx.doi.org/10.1080/09720073.2014.11891580.

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Isabirye, James. "Can indigenous music learning processes inform contemporary schooling?" International Journal of Music Education 39, no. 2 (February 24, 2021): 151–66. http://dx.doi.org/10.1177/0255761421996373.

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This autoethnographic study investigated possibility of incorporating indigenous pedagogies into Ugandan school music and, possibly, general education. School music education in Uganda currently occurs within a colonial-influenced system that does not connect with learners’ indigenous cultures. The colonial system fosters belief that “western” is modernity and “indigenous” is backwardness that should be erased. School music learning is currently experienced in a teacher-dominated, “banking” (Freire, 1970) school system that disempowers learners and produces graduates who cannot address the musical needs of their worlds. Ugandan government measures to improve music and general education have not improved the situation. Literature on the role that indigenous pedagogies could play in a contemporary music education is limited. Through this study, I sought to understand what might happen when indigenous education pedagogies are incorporated in a contemporary, formal school setting. Informed by relevant literature, I interrogated and analyzed my own learning and teaching experiences in Ugandan communities and schools and found that embedding indigenous learning and teaching processes in music classrooms fostered growth in learner leadership, ownership, agency, and identity in the context of mutually shared participatory experiences that learners found relevant and meaningful—experiences that engendered joyful, passionate, collaborative learning, and reification of reflective practice among learners.

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Dargie, Dave. "African methods of music education: some reflections." African Music: Journal of the International Library of African Music 7, no. 3 (1996): 30–43. http://dx.doi.org/10.21504/amj.v7i3.1961.

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Higgs, Philip. "Towards an indigenous African educational discourse: a philosophical reflection." International Review of Education 54, no. 3-4 (May 17, 2008): 445–58. http://dx.doi.org/10.1007/s11159-008-9088-x.

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FAUTLEY, MARTIN. "Music Education in 2017." British Journal of Music Education 34, no. 3 (November 2017): 241–42. http://dx.doi.org/10.1017/s0265051717000183.

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One of the fascinating things about the articles in the BJME is that they come from many different countries, with many different music education systems in place in them. Each country has its own way of doing things, and its own way of thinking about what music education means in its own circumstance. One of the issues we face today is that with increasing globalisation unique ways of musicking can be under threat from non-indigenous commercial interests. For music education this can have implications. One of the questions that it raises is about the purposes of music education. Is music education about passing on a historic culture whose existence is threatened? Is it about learning to play western classical instruments? Is it about learning to play pop and rock music? These are not simple questions, and they do not have simple answers.

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Kallio, Alexis Anja. "Decolonizing music education research and the (im)possibility of methodological responsibility." Research Studies in Music Education 42, no. 2 (June 27, 2019): 177–91. http://dx.doi.org/10.1177/1321103x19845690.

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Whilst increasing attention is paid to decolonizing music education practice in the classroom, the research processes by which scholars identify, understand, and evaluate anti-colonial or decolonizing work are often entrenched in colonial logics themselves. The politics of knowledge and knowledge production between indigenous epistemes and the Academy thus raise questions as to the methodological responsibility of music education research in indigenous settings, particularly when conducted by non-indigenous researchers. Drawing upon a recent music education study conducted together with indigenous Sámi peoples in Finland, this article argues that despite the good intentions of music education scholars methodological responsibility may well be an unachievable goal. However, if we understand research ethics as more than the procedural accountability to institutional review boards or funding committees, methodological responsibility may better be understood as a condition of possibility found in relation with others. Thus, in order to decolonize music education practice, researchers are challenged to step outside of their epistemic and methodological comfort zones, and to consider how we may also decolonize music education research.

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Polak, Fiona, and Athol Leach. "DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS." Mousaion: South African Journal of Information Studies 32, no. 3 (September 30, 2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.

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Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polakâ€™s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The guiding theoretical framework is based on the Berne Convention (2014) and the World Intellectual Property Organization (WIPO) Copyright Treaty (1996) which provide the overarching international framework for guiding copyright. The literature review focuses on the international and national legislation; copyright in original recordings; duration of copyright; fair use, the public domain and information commons; copyright and fair dealing; and the South African Copyright Act (No. 98 of 1978). A survey conducted by e-mail identified problem areas experienced by the music librarians regarding the digital music copyright laws in South Africa. Two sets of guidelines for South African music librarians were formulated using their responses and the literature reviewed, and recommendations are made.

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Locke, Terry, and Lauren Prentice. "Facing the Indigenous ‘Other’: Culturally Responsive Research and Pedagogy in Music Education." Australian Journal of Indigenous Education 45, no. 2 (May 5, 2016): 139–51. http://dx.doi.org/10.1017/jie.2016.1.

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This narrative article is based on an analysis of 61 documents, mostly articles, of which 37 were peer-reviewed, including research studies, reviews, conceptual research and narratives of practice. Review findings are reported with specific reference to the Australian and New Zealand contexts in relation to the following topic categories: the presence of indigenous music in the curriculums of selected ‘new world’ countries, teacher education in indigenous performing arts, questions of curriculum design and programming, resource selection, activity design, and school and community relationships. Certain key themes emerged across these topics: the need for a greater emphasis on more culturally nuanced music teacher education in relation to indigenous musics; the critical importance of teaching indigenous music/arts contexts; song ownership; and the need for music educators and researchers to develop a critical stance towards their subject and discipline.

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Higgs, Philip. "Towards an indigenous African epistemology of community in education research." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 2414–21. http://dx.doi.org/10.1016/j.sbspro.2010.03.347.

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Oehrle, Elizabeth. "Education Through Music: Towards A South African Approach." British Journal of Music Education 10, no. 3 (November 1993): 255–61. http://dx.doi.org/10.1017/s0265051700001790.

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Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.

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Lundquist, Barbara R., and Winston T. Sims. "African-American Music Education: Reflections on an Experience." Black Music Research Journal 16, no. 2 (1996): 311. http://dx.doi.org/10.2307/779334.

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Wiggins, Trevor. "The world of music in education." British Journal of Music Education 13, no. 1 (March 1996): 21–29. http://dx.doi.org/10.1017/s0265051700002928.

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This article is concerned with music pedagogy, especially in relation to world music. The process of learning music varies with musical culture and is an integral part of musical style. Learning musicians bring training and concepts from their own musical background, as well as their strengths and weaknesses. The author examines aspects of the pedagogic process for indigenous and foreign musicians, considering the nature of the experience and understanding from their different viewpoints. The article results from a period of field research in Ghana during 1994–5 which was supported by grants from Dartington College of Arts and the Elmgrant Trust.

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Vázquez Córdoba, Héctor Miguel. "(Re)centering Indigenous Perspectives in Music Education in Latin America." Action, Criticism, and Theory for Music Education 18, no. 3 (September 2019): 200–225. http://dx.doi.org/10.22176/act18.3.200.

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Sunday-Kanu, Rita Adaobi, and Samuel Chukwuma Nnodim. "Temporal issues in the inherent rhythmic expressions of African indigenous music performance practices." African Research Review 12, no. 3 (September 10, 2018): 109. http://dx.doi.org/10.4314/afrrev.v12i3.12.

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Opoku, Maxwell Jnr, and Angela James. "PEDAGOGICAL MODEL FOR DECOLONISING, INDIGENISING AND TRANSFORMING SCIENCE EDUCATION CURRICULA: A CASE OF SOUTH AFRICA." Journal of Baltic Science Education 20, no. 1 (February 5, 2021): 93–107. http://dx.doi.org/10.33225/jbse/21.20.93.

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In Africa, Science education curricula have been instrumental in promoting Western worldviews as being universal. An educational transformation and decolonisation of the school curriculum is required. A focus on an African worldview and an integration of the local context and community-based information is necessary for survival, i.e., Indigenous Knowledge System (IKS). While IKS is enshrined in the schooling curriculum, Educators experience challenges with implementing it, because the pedagogical strategies have not been clearly described. An in-depth qualitative study was conducted with the Indigenous Knowledge (IK) holders of the Zulu cultural group and Senior High School (SHS) Science teachers to explore how IK on environmental sustainability could be taught in South African science classrooms. The research employed an interpretivist, multi-site ethnographic, qualitative approach, and naturalistic research style. In-depth interviews were used to generate data from the purposively selected community persons. The thematically analysed findings were used to develop a culturally specific pedagogical model on how to teach IK in science classrooms: touring cultural places; demystifying indigenous practices and perception; utilizing indigenous pedagogies; teaching wisdom behind indigenous practices etc. The research recommends that future studies be conducted on applying the model in different geographical and cultural schooling contexts. Keywords: context sensitive curricula, pedagogical strategies, South African curriculum, Western worldview

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Mackinlay, Elizabeth, and Peter Dunbar-Hall. "Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System." Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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Quaynor, Laura. "Remembering West African indigenous knowledges and practices in citizenship education research." Compare: A Journal of Comparative and International Education 48, no. 3 (March 23, 2018): 362–78. http://dx.doi.org/10.1080/03057925.2018.1444468.

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Muller, S. J. "Imagining Afrikaners musically: Reflections on the ‘African music’ of Stefans Grové." Literator 21, no. 3 (April 26, 2000): 123–38. http://dx.doi.org/10.4102/lit.v21i3.504.

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For nearly two decades Stefans Grové has been composing music that absorbs the cultural “Other" of Africa in a manner that defies an easy classification of ‘‘indigenous’’ principles and “exotic” appropriation. His own conception of himself as an African who composes African music challenges the inhibition of “white” Afrikaner culture and revivifies Afrikaner culture as African culture. In so doing, Grové is consciously subverting the myth of a united Africa over against a monolithic "West” - and with it the legitimacy of an autochthonous echt African culture previously excluded by “whites" and Afrikaners. This article takes a closer look at the strategies and techniques involved in this fin de siècle musical imaginings of Afrikaner identity.

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Govender, Nadaraj. "Locating the Centrality of African Languages and African Indigenous Knowledge in theEmbodimentThesis: Implications for Education." Studies of Tribes and Tribals 14, no. 2 (December 2016): 68–79. http://dx.doi.org/10.1080/0972639x.2016.11886734.

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Avoseh, Mejai B. M. "Proverbs as Theoretical Frameworks for Lifelong Learning in Indigenous African Education." Adult Education Quarterly 63, no. 3 (October 19, 2012): 236–50. http://dx.doi.org/10.1177/0741713612462601.

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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.

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Walker, Gavin Robert. "Music Research in a South African Higher Education Institution." Action, Criticism, and Theory for Music Education 18, no. 3 (September 2019): 144–71. http://dx.doi.org/10.22176/act18.3.144.

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Marsh, Kathryn. "Making connections: A case study of pre-service music education students' attitudinal change to indigenous music." Research Studies in Music Education 15, no. 1 (December 2000): 58–67. http://dx.doi.org/10.1177/1321103x0001500108.

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Titus, Olusegun Stephen. "ECOMUSICOLOGY, INDIGENOUS KNOWLEDGE AND ENVIRONMENTAL DEGRADATION IN IBADAN, NIGERIA." African Music: Journal of the International Library of African Music 11, no. 1 (December 1, 2019): 72–90. http://dx.doi.org/10.21504/amj.v11i1.2293.

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In Zimbabwe, urban musicians and educators often perceive karimba as a category of relatively small mbira that are used for secular entertainment. This notion is strongly influenced by the prominence of the Kwanongoma mbira, or nyunga nyunga mbira, a 15-key karimba that was first popularized by the Kwanongoma College of Music in the 1960s. Despite a wealth of research, very little has been written about karimba traditions around the Zimbabwe-Mozambique border that are associated with traditional religious practices. In this article, the author focuses on a type of karimba with more than 20 keys that shares much of the same repertoire with matepe/madhebhe/hera music in Rushinga, Mutoko, and Mudzi Districts in Zimbabwe and nearby regions in Central Mozambique. The author explores the connections between innovations of the Kwanongoma mbira and karimba traditions in the Northeast with examples from the International Library of African Music archival collections and her own ethnographic research. This article provides a foundation upon which others may further conduct research on karimba music and suggests possible directions for incorporating these findings into educational contexts.

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Dor. "Exploring Indigenous Interpretive Frameworks in African Music Scholarship: Conceptual Metaphors and Indigenous Ewe Knowledge in the Life and Work of Hesinɔ Vinɔkɔ Akpalu." Black Music Research Journal 35, no. 2 (2015): 149. http://dx.doi.org/10.5406/blacmusiresej.35.2.0149.

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Harley, Debra A. "Indigenous Healing Practices among Rural Elderly African Americans." International Journal of Disability, Development and Education 53, no. 4 (December 2006): 433–52. http://dx.doi.org/10.1080/10349120601008605.

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Mugovhani, Ndwamato George. "The role of indigenous African choral music in the search for identity: With special reference to Mzilikazi Khumalo's music." Muziki 7, no. 1 (July 2010): 60–75. http://dx.doi.org/10.1080/18125980.2010.483861.

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Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.

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AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.

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Joseph, Dawn, and René Human. "African music: negotiating a space in contemporary society." Intercultural Education 20, no. 4 (August 2009): 359–70. http://dx.doi.org/10.1080/14675980903351995.

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Joseph, Dawn, and Kay Hartwig. "Promoting African Music and enhancing intercultural understanding in Teacher Education." Journal of University Teaching and Learning Practice 12, no. 2 (April 1, 2015): 108–21. http://dx.doi.org/10.53761/1.12.2.8.

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Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses. Generalisations cannot be made, however, the findings revealed the need, importance and benefits of incorporating guest music educators as culture bearers who have the knowledge, skills and understandings to contribute to multicultural music education. This experience may be similar to other educational settings and it is hoped that the findings may provide a platform for further dialogue in other teaching and learning areas.

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Tedla, Elleni. "Indigenous African Education as a Means for Understanding the Fullness of Life." Journal of Black Studies 23, no. 1 (September 1992): 7–26. http://dx.doi.org/10.1177/002193479202300102.

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