Relevant bibliographies by topics / Mbira

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Mbira'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Mbira"

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Peterman, Lewis. "Kotekan in the Traditional Shona Mbira Music of Zimbabwe." Mudra Jurnal Seni Budaya 25, no. 3 (September 30, 2010): 235–45. http://dx.doi.org/10.31091/mudra.v25i3.1560.

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This article documents musical interlocking as it is traditionally practiced among the Shona people of Zimbabwe. Its focus is on the music of the mbira dzavadzimu, a traditional musicial instrument that consists of 22-25 or more keys distributed over three manuals(keyboards) played with both thumbs and one index finger. Numerous musical examples,using notational symbols developed for this study, are used throughout to clarify all technicaldetails. Most of the notational symbols are the same or similar to those used by Paul Berliner in his classic study The Soul of Mbira (Berliner: 1978). Six complete traditional mbira dzavadzimu pieces are presented in easy-to-read notated form: “Nhemamusasa,” “Chakwi,” “Nhemamusasa Variation,” “Nyamaropa,” “Shumba,” and “Taireva.” Four different categories ofinterlocking procedures form the core of the article: 1) Interlocking in Solo Mbira Music; 2) Interlocking in Two-Part Mbira Music; 3) Interlocking in Three-Part Mbira Music; and 4) Interlocking in Multiple-Part Mbira Music. Three supporting categories are also presented: 1) Interlocking in Mbira “High-Line” Parts; 2) Interlocking in Accompanying Vocal Parts; and 3) Interlocking in Miscellaneous Accompanying Parts. Much of the data in this article was gathered by the author through his private instruction with the following distinguished Shona mbira players: Irene Chigamba, Tute Chigamba, Musekiwa Chingodza, Stella Chiweshe, Michael Kamunda, Forward Kwenda, Ephat Mujuru, and Luken Kwari Pasipamire.
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Muranda, Richard. "Preserving the nyunganyunga mbira tunes through teaching and learning of performance using Sibelius 7." African Musicology Online 13, no. 1 (June 7, 2024): 34–44. http://dx.doi.org/10.58721/amo.v13i1.568.

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The study focused on preserving mbira tunes by using transcription with Sibelius 7. The researcher purposively selected (7 females and 8 males) music students to play the transcribed ‘Bungautete’, ‘Chigwaya’, ‘Guva rangu’, and ‘Nhemamusasa’ on the nyunganyunga mbira. Action research and the computer-assisted method guided the lessons. The study followed UNESCO’s decree on Safeguarding cultural heritage aiming to protect the world’s intangible cultural heritage through upholding practices, uses, and expression of knowledge that communities recognise as vital to their culture. The advent of computers in music education offers advantages to music educators and students to use emerging technologies in class. The nyunganyunga mbira in recent years gained recognition in primary, secondary and tertiary music education in Zimbabwe and beyond. Materials from the study are useful in teaching the nyunganyunga mbira to the current and future generations. The study proffers ways to preserve and present the tunes in print, PDF, audio, MP3, and MIDI formats as instructional materials. The study affords knowledge on how to use the software in teaching the nyunganyunga mbira. It also provides material and knowledge useful in schools, colleges, and universities in music education. Further studies may be needed to cater for other mbira types.
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Tracey, Andrew. "Predicted mbira found." African Music: Journal of the International Library of African Music 9, no. 3 (2013): 21–24. http://dx.doi.org/10.21504/amj.v9i3.1908.

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Moon, Jocelyn. "KARIMBA." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 103–25. http://dx.doi.org/10.21504/amj.v10i4.2235.

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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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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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Marx, Shirley. "A Zimbabwean mbira: a Tradition in African Music and its Potential for Music Education." British Journal of Music Education 7, no. 1 (March 1990): 25–42. http://dx.doi.org/10.1017/s026505170000749x.

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This article aims to encourage the provision of the Zimbabwean mbira dzavadzimu in schools as a means of experiencing a novel musical system. It provides an outline of the mbira's cultural context within an oral tradition. The basic structure of the mbira pattern is abstracted and represented by four types of notation which makes the music accessible to a range of people. However, the characteristic ‘inherent rhythms’ that emerge kaleidoscopically from patterns and variations throughout performance give the music an elusive quality, the dimensions of which cannot be captured in staff notation. The simplicity of the separate components of a composition can be individually explored on a variety of instruments, while the resultant combination of its interlocking melodic lines is one of complexity and ever-shifting musical images. The mbira introduces a new aesthetic into the classroom and is ideal for both solo and ensemble playing.
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Tracey, Andrew. "The system of the mbira." African Music: Journal of the International Library of African Music 10, no. 1 (2015): 127–49. http://dx.doi.org/10.21504/amj.v10i1.1229.

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Silambo, Micas. "Performance da mbira em África: experiências, ações e interações do mestre Moto M’djindja." Opus 27, no. 3 (November 7, 2021): 1–25. http://dx.doi.org/10.20504/opus2021c2716.

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Os estudos contemporâneos da performance musical tendem, ou melhor, deveriam tender, a integrar um discurso plural e polifônico sobre as comunidades culturais pesquisadas. Este texto reflete sobre a performance da mbira como forma de viver ações e situações interativas no processo de construção da performance. O caminho de pesquisa foi alicerçado em observações de campo auxiliadas por entrevistas semiestruturadas dirigidas ao mestre Moto M’djindja, assim como por documentos fotográficos e audiovisuais. Entre as referências utilizadas na pesquisa estão os autores que lidam com diferentes áreas do saber, contudo olho especialmente para o campo da performance com foco em Richard Schechner. Os resultados da pesquisa fundamentam que a performance da mbira é sustentada pela articulação de elementos conectados de uma estrutura complexa na qual cada elemento mantém sua distinção e tem sua modalidade específica de coparticipação, suas próprias formas e condições de existência e influência. Assim, conclui-se que a performance da mbira é uma constelação de situações ou ações humanas, culturais, sociais e materiais de caráter artístico, experimental e interativo manifestado numa plataforma performática de poder igual.
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Florêncio, Fernando. "A mbira como mediadora de relações sociais." Etnografica, Número especial (December 22, 2022): 59–64. http://dx.doi.org/10.4000/etnografica.12680.

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McNeil, L. E., and S. Mitran. "Vibrational frequencies and tuning of the African mbira." Journal of the Acoustical Society of America 123, no. 2 (February 2008): 1169–78. http://dx.doi.org/10.1121/1.2828063.

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Dissertations / Theses on the topic "Mbira"

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Pickard, Mackenzie Erin. "The Traditional Mbira on Stage: A Study of Contemporary Performance Practices." Thesis, The University of Arizona, 2010. http://hdl.handle.net/10150/193409.

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This thesis explores the challenges (visual, aural, ethical, and spiritual) performers face when playing mbira dzavadzimu, a traditional Zimbabwean musical lamellophone, in a contemporary concert stage setting. In addition to examining historical, philosophical, and theoretical issues regarding changing performance practice and staging techniques in different contexts, the document includes analyses of mbira performances from internet video postings and documentary films. Analysis draws upon the personal testimonies of Zimbabwean musicians and involves the critique and application of theoretical perspectives of Adrienne Kaeppler, Richard Schechner, and Erving Goffman, among others. Results indicate that experimenting with stage set-up, utilizing technological enhancement, and encouraging audience-performer relationships creates an experience that is closer to that found in Zimbabwean mbira performances.
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Gumboreshumba, Laina. "Understanding form and technique : Andrew Tracey's contribution to knowledge of lamellophone (mbira) music of Southern Africa." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002303.

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This thesis interrogates Andrew Tracey’s career as an ethnomusicologist and the significance of his research and publications on lamellophone (mbira) music of the Shona/Sena in Zimbabwe and Mozambique to subsequent scholarship of lamellophones throughout southern Africa. Through a survey of authors who have cited Tracey’s publications, this study assess how his use of the pulse notation transcription method and his theory of form and harmonic structure in mbira music, which he terms ‘the system of the mbira’ (A. Tracey, 1989) have influenced and contributed to the work of ethnomusicologists, musicologists and composers. Further this research evaluates the impact on subsequent publications by other scholars of Tracey's technical analysis of mbira music. Organizing and indexing Andrew Tracey's field collection in the ILAM archive gave direct knowledge of the scope of his work. The thesis consists of six chapters. The first chapter contains a general introduction to the thesis and outlines the goals of the research. Chapter Two presents a biographical sketch of Andrew Tracey. A general introduction to the lamellophone (mbira) family of musical instruments in Zimbabwe and elsewhere in Africa is presented in Chapter Three, which also addresses the social function of lamellophone music. Chapter Four gives a summary of Andrew Tracey’s research on the Shona mbira (his publications, recordings, films etc), and it analyzes his theory - “The system of the mbira” - in which he defines the form and structure of mbira music. Chapter Five examines the impact of Andrew Tracey’s research and publications on mbira music to subsequent scholarship and makes an analysis and evaluation of the significance of his contribution to the body of knowledge of the instrument and its music. In addition I relate my personal experiences with mbira music as a Shona person and mbira player and give my opinions on Tracey’s and subsequent scholars’ theories on mbira music. Chapter Six concludes with a summary of outcomes of this research. Basing on the analyses of presented data, it is deduced that, despite a few shortcomings, Andrew Tracey’s research on mbira music is crucial for it laid the groundwork for subsequent mbira scholarship.
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Lindroth, James Lindroth. "Zimbabwean Mbira Music and Modern Spirituality in the Western United States." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524241138090042.

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Chipendo, Claudio. "Towards a changing context and performance practice of mbira dzavadzimu music in Zimbabwe." Thesis, University of Fort Hare, 2015. http://hdl.handle.net/10353/6357.

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Mbira dzavadzimu music and performance practice has been in existence since the pre-colonial era. It played a crucial role in ritual and non-ritual activities of the Shona people of Zimbabwe. However, political, social and global influences as well as technological advancement have resulted in change of context and performance practice. Unfortunately, these have not been recorded for future generations. The major aim of the study is therefore to examine the change of context and performance practice of mbira dzavadzimu in Zimbabwe. This was achieved by reviewing mbira dzavadzimu music and performance practice within the modern setting of dandaro. I looked at change from a theoretical lens of the theory of diffusion, syncretism and mediatisation. The study was in the qualitative form superimposed on some case studies. Unstructured interviews, participant and non-participant observations were the main instruments used to collect data from both traditional and modern mbira performances. Data was also collected from museums, archives, radio and television stations. The study established that the changes in context and performance practice of mbira dzavadzimu in Zimbabwe were to a larger extent due to foreign influences such as colonialism, the coming of missionaries, modernisation, urbanisation, commercialisation, mediatisation, the use of modern technology and institutionalisation. Due to the aforementioned influences, the environmental settings, the change of context from sacred to secular, the relationship with ancestral spirits, musical practices, performance situations and quality of sound, have been modified and adjusted in response to the influences of the globalised world’s ever changing audience and performance space. In short, this has resulted in a shift of mbira performances from its traditional to modern settings, from the village to the city and onto the international scene with a new performer-audience setting. Various innovations were carried out on the instrument and its music as a result of the advent of modern technology. The use of microphones, modern amplification systems, recording studios, radio and television broadcast, audio and video cassettes, CDs, DVD, teaching of the instrument using audio and video instructional models and the use of internet sites in learning how to play mbira dzavadzimu and other instruments have become a reality. It has been evident from the study that urban and rural areas take up change in different ways and that in the former change is more pronounced than in the latter. Urban area communities are more “developed” than their rural counterparts because the former are more exposed to technological influences and the commercialisation of music. The study has also established that Zimbabwean mbira music is a good example of modern transculturality. The instrument and its music have played a major role in breaking down cultural boundaries and bringing the people of the world together for purposes of performing on the instrument. From the findings of this study, I attribute most of the changes to technologisation, for most of the changes that have taken place on mbira dzavadzimu were a result of the highly technologised way of life Zimbabweans now lead.
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Matiure, Sheasby. "Performing Zimbabwean music in North America an ethnography of mbira and Marimba performance practice in the United States /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344589.

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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.
Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0649. Adviser: Ruth M. Stone.
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Marima, Tendai. "Suns of the Mbira : a critical exploration of the multiple figurations of femininity in selected fiction by Tsitsi Dangarembga and Yvonne Vera." Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6530/.

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My thesis is that multiple figurations of femininity challenging traditional Zimbabwean values are articulated in the representations of womanhood, motherhood and sexuality in the writing of Tsitsi Dangarembga (1959-) and Yvonne Vera (1964-2005). Critically, I draw centrally upon Rosi Braidotti (1994) and Donna Haraway’s (1992; 2004) work on figurations as feminist metaphors theorizing how women challenge and transform socially constructed roles that confine females to subservient social positions. In addition, Gilles Deleuze and Felix Guattari’s (1987) theorization of multiplicity is deployed as a useful conceptualization of the erasure of the binary separating the collective and individual, asserting instead, that subjectivities are pluralistic, connected identities in constant creation. Applying the critics’ ideas with due caution to the African context, through a method of ‘carnivalizing,’ mixing and negotiating theory, my thesis also makes use of selected forms of African feminist theory, to give the necessary cultural context to Zimbabwean femininity. I critically engage with scholarly work that theorizes African women’s historiography and negotiations of power and knowledge. Combining these diverse feminist and post-structuralist voices together with views expressed in the writing, I aim to produce a nuanced reading of the plurality of femininity so that a pattern of simultaneously complimentary and contradictory relations with feminist paradigms of African womanhood begins to emerge as key to interpreting the selected fiction. My thesis develops in three chapters, beginning with an examination of how rebellious women negotiate the domestic, private world culturally assigned to females. I explore how Vera’s unconventional figurations of motherhood undo the cultural and political mores placed on women by essentialist patriarchal and racial ideologies. Further analyzing dissenting femininities, I investigate subversive textual constructions of same-sex relationships in Vera and Dangarembga’s fiction. My readings suggest that some of the ideological contradictions between theory and text provide fertile conditions in which to rethink radical femininities as figurations within African feminism. I propose new, progressive strategies for reading womanhood, and exploring the polyphonic and complex nature of colonial and post-independence Zimbabwean femininity, as expressed in the novels.
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Chimeri, Dudzirai. "Rereading Hebrews for liberating interdependence from within a Zimbabwean Mbire context." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/16511.

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Thesis (D. Phil.)--University of Stellenbosch, 2005.
ENGLISH ABSTRACT: As modern society becomes more complex and diverse, a colonial reading paradigm is increasingly becoming less plausible and has reached a point at which it is no longer possible to play tricks with colonized peoples. It belongs to a period and expresses an outlook with which we can no longer identify. A new epoch in the field of reading has opened. What we see in a postcolonial paradigm is a radical shuffling of the cards into a new pattern. This study argues that a postcolonial assumption of a plurality of contexts of salvation is a liberating paradigm that proceeds along a path that includes the acceptance of the independence and separate character of the various religions and the avoidance of superordination-subordination relationships. It acknowledges and seeks to detect religious intolerance and to encourage an approach that celebrates human cultural diversity—a rainbow religion or religious landscape. In this study a colonial reading paradigm of the bible in general and the letter to the Hebrews in particular, is turned on its head and colonial conception of supersessionism – an absolute claim to superiority – rendered largely obsolete. It is no longer a case of business as usual. As the Christian assumption of absolute claims to superiority over non-Christian religions is increasingly becoming less plausible – in fact, obsolete – and no longer make sense to many people, collective and collaborative efforts are an ideal alternative. There is a need to create space for other religions to work in partnership with the Christian religion in our unprecedented communicational, democratic and pluralistic cultural contexts where we rub shoulders with devotees of non-Christian religions. A pluralistic form of religious environment, where there is no one religion with preferential privileges, is an ideal thing in our contexts. We need a different conceptualization of the role of religion, where non-Christian religions are viewed not as demonic, false or inferior, but as worthy colleagues in the religious quest. They are alternative and valid version of religious faith as well. The idea that the ultimate reality, the cosmic power, has dealt with only one segment of humankind, the Christian people, and that ideally there should be one, and only one, universal religion should be rejected. Moreover, for Christian people to be receptive to non-Christian religions does not entail abandoning or betraying the Christian religion. It simply entails appropriating insights previously unavailable to them. The idea that the Euro-American Christian theoretical line carries automatic evaluative judgements should now be regarded as decidedly outdated.
AFRIKAANSE OPSOMMING: In ‘n toenemend diverse en komplekse moderne samelewing is daar nie meer ruimte vir ’n koloniale lees-paradigma nie. Dit is trouens onwaarskynlik dat gekolonialiseerde mense (steeds) ’n rat voor die oë gedraai kan word. Sulke tye behoort tot die verlede en beliggaam ’n wêreldbeskouing waarmee nie langer geïdentifiseer kan word nie. ‘n Nuwe epog wat betref die lees van tekste is op die horison. Binne die post-koloniale paradigma bemerk mens ‘n radikale herposisionering van weë, en selfs nuwe weë. Hierdie studie betoog dat ’n post-koloniale veronderstelling van ’n verskeidenheid-van-kontekstevan- verlossing uiteindelik ’n bevrydende paradigma is, wat sigself beywer om die afsonderlike en onafhanklike karakter van ander godsdienste te aanvaar en enige magsverhoudinge tussen hulle te bestry. Dit wil enige vorm van religieuse onverdraagsaamheid hokslaan en die viering van kulturele diversiteit aanmoedig. In die studie word ’n koloniale lees-paradigma van die Bybel in die algemeen en die Hebreërbrief in besonder op sy kop gekeer, terwyl die idee van absolute koloniale super-heerskappy as uitgediend beskou word. Dit is gewis nie meer ’n geval van klakkelose berusting in die algemene gang van sake nie. Soos ‘n Christelike veronderstelling van absolute aanspraak vanuit ‘n magsposisie en heerskappy teenoor ander godsdienste al minder verantwoordbaar blyk te wees en vir baie eenvoudig nie meer sin maak nie, bied gesamentlike pogings nuwe en verfrissende alternatiewe. Daar is ’n behoefte om ruimte te skep vir ander godsdienste waarbinne hulle juis as vennote saam met Christene in vandag se ongekend kommunikatiewe, demokratiese en pluralisties-kulturele kontekste kan meewerk. ’n Pluralisties-religieuse omgewing – waar geen godsdiens enige spesiale bevoorregting bo ’n ander geniet nie – kan daarom as die ideaal in huidige kontekste beskou word. Hiervoor word egter ‘n ander begrippe-apparaat ten opsigte van die rol van religie benodig, waarmee nie-Christengelowiges nie as demonies, vervloek of minderwaardig beskou sal word nie, maar veel eerder as waardige vennote in die religieuse gesprek. Hul standpunte behoort as alternatiewe en ewe geldige perspektiewe erken en gerespekteer te word. Die idee dat die Almagtige, na wie almal vra, slegs by één bepaalde segment van die mensdom betrokke sou wees, naamlik by Christene, word heeltemal verwerp. Dieselfde geld die beywering en uiteindelike daarstel van één universele geloof. Christene se openheid teenoor andersgelowiges beteken egter allermins ’n verloëning van die Christelike evangelie. Die gedagtegang van hierdie studie impliseer bloot dat Christene voortdurend oop sal wees vir ander se religieuse insigte. Die idee dat ‘n Westerse teoretiese raamwerk outomaties waarde-oordele kan fel, word dus daarmee beslissend as gedateerd verklaar.
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Gómez, Lozano Blanca Cecilia. ""Festivaliar, tigriar e gravar" artistas e sonoridades no Piedemonte dos Llanos Orientales da Colômbia." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/162582.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em Antropologia Social, Florianópolis, 2015.
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Os Llanos Orientales são uma região da Colômbia que, junto com os Llanos da Venezuela, é conhecida, dentre outras coisas, por ser o ?berço? da música llanera. Esta dissertação trata dos processos de construção dos artistas llaneros e das formas em que se legitimam seus trabalhos artísticos. Para isso, descreve-se as trajetórias de alguns artistas, identificando as razões que guiam sua participação nos diferentes contextos de performance da música llanera e quais são as características que distinguem suas atuações. Nas falas dos artistas, a atuação nesses diferentes contextos é referida através de diferentes verbos: festivaliar ? para se referir à participação em festivais e concursos; tigriar1? para se referir ao trabalho em churrascarias e botecos; e gravar? para se referir não apenas à produção e gravação de discos, mas também ao processo de inserção em cenários internacionais. Compreendo a música llanera como um campo que se organiza hierarquicamente a partir das diferentes posições que ocupam os artistas e as relações que estabelecem entre eles e com outros agentes. Pode-se dizer que, em parte, essas diferentes posições se relacionam com as participações diferenciais nos contextos acima mencionados A partir do trabalho de campo realizado na região do Piedemonte llanero, que incluiu a participação em festivais de música llanera, shows e apresentações, assim como a realização de entrevistas com cantores, instrumentistas, gestores culturais, funcionários públicos do setor cultural e mestres de música, procurei mapear as relações que organizam e legitimam o trabalho artístico no campo da música llanera, bem como descrever o domínio de habilidades sonoras que permitem aos artistas se identificarem como artistas llaneros.

Resumen: Los Llanos Orientales son una región de Colombia, que junto con los Llanos de Venezuela, es conocida, entre otras cosas, por ser  cuna de la música llanera. Esta disertación trata de los procesos de construcción de los artistas llaneros y de la forma en que se legitiman sus trabajos artísticos. Para ello se describen las trayectorias de algunos artistas identificando las razones que guían su participación en diferentes contextos de performance de la música llanera. Así mismo se identifican las características que distinguen su participación en cada uno de ellos. Muchos de estos artistas se refieren a su actuación en estos contextos a través de verbos como festivaliar, para referir a la participación en festivales y concursos, tigriar para referirse al trabajo en asaderos y bares de música llanera, e gravar, para referirse no solo a la grabación y producción de discos, sino también a la participación en escenarios internacionales. Comprendo la música llanera como un campo que se organiza jerárquicamente a partir de las diferentes posiciones que ocupan los artistas y las relaciones que establecen entre ellos y con otros agentes. En parte esas diferentes posiciones se relacionan con la participación diferenciada en los contextos antes señalados. A partir de trabajo de campo realizado en la región del Piedemonte llanero, que incluyó la participación en festivales de música llanera, shows y diversas presentaciones, así como la realización de entrevistas con cantantes, instrumentistas, gestores culturales, funcionarios públicos del sector cultural y maestros de música, procuré mapear las relaciones que organizan y legitiman el trabajo artístico en el campo de la música llanera, así como describir el dominio de habilidades sonoras que permiten a los artistas identificarse como artistas llaneros.
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Stofile, Siyanda Colman. "The role of Mnquma Local Municipality in poverty alleviation in Mbiza administrative area." Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020802.

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The central objective of the research study was to evaluate the role of Mnquma Local Municipality in poverty alleviation in Mbiza Administrative Area. The key debates after apartheid have been on the successes and shortcomings of the social and economic policies that were adopted. The ANC-led government decided to approach poverty reduction by closing the inequality gap between racial groups in South Africa. It planned to provide services that would improve the lives of the poor and also create employment to sustain development. To provide the necessary services, the Government formulated two broad, but linked macroeconomic policies namely: the RDP and GEAR. This indicated the importance with which the people’s welfare and growth are regarded by the South African government. This guided research report attempted to investigate and analyse the role played by Mnquma Local Municipality to alleviate poverty in the Mbiza Administrative Area. This report shows that poverty is still extreme. The Municipality has achieved limited success in alleviating poverty and prioritising skills development among the community. This research demonstrates the IDP and its mechanism process in trying to address poverty alleviation in the Municipality’s geographical area of responsibility. This report also reveals that much has to be done to improve the effectiveness of the IDP in enhancing and fulfilling its intended goals and objectives.
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Vardhanabhuti, Varut. "Use of model-based iterative reconstruction (MBIR) techniques in computed tomography (CT)." Thesis, Exeter and Plymouth Peninsula Medical School, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.757607.

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Over the past decades, the use of computed tomography (CT) has risen exponentially due to expanding need in medical diagnosis and treatment planning. The use of CT is not entirely without risk and involves theoretical risk from radiation. This has led to several advancement in dose reduction techniques. Most promising is the use of so called “iterative reconstruction” which is a post image acquisition step combining a software/hardware configuration that allows the images acquired to be processed more efficiently, eliminating noise which increases with low dose techniques. This thesis examines the use of a specific iterative reconstruction technique known as model-based iterative reconstruction (MBIR) and assesses image quality, diagnostic accuracy, and feasibility of implementation in routine clinical practice. With no prior guidelines for implementation, first we assessed this technique in pre-clinical setting by scanning a realistic model of a human (known as a phantom). This allows us to scan at various tube current/voltage settings as well as fixed/automatic adjustments to assess the most optimal parameters by assessing image quality. Second, we assessed if image quality can be improved using the same dose for routine patients. Third, we assessed image quality and diagnostic accuracy in 3 body parts by scanning patients with matched intra-individual comparison of standard and low dose techniques. This was done for chest, abdomen/pelvis, and colon. Fourth, we tested the use of low dose techniques in specific clinical situations, assessing diagnostic accuracy in the context of lung nodule follow-up and renal stone detection in patients presenting with renal colic.
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Books on the topic "Mbira"

1

Ortiz, Fernando. La marímbula. La Habana, Cuba: Editorial Letras Cubanas, 1995.

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Mbabi-Katana. The Uganda likembe: Its history, tuning systems, notational and compositional techniques. [Kampala? Uganda]: Mbabi-Katana, 1986.

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Grupe, Gerd. Traditional mbira music of the Shona. Köln: Köppe, 1998.

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Amoros, Luis Gimenez. Tracing the Mbira Sound Archive in Zimbabwe. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539.

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Holdaway, Mark. Kalimba fundamentals for the Hugh Tracey treble kalimba: A revolutionary new guide to playing the African thumb piano. Tucson, AZ: Mark Holdaway, 2005.

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Shapiro, Peter. How to play the thumb piano. Morgantown, WV: Goshen Art School, 1991.

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Grupe, Gerd. Die Kunst des Mbira-Spiels: Harmonische Struktur und Patternbildung in der Lamellophonmusik der Shona in Zimbabwe = The art of mbira playing. Tutzing: H. Schneider, 2004.

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Gesellschaft für Musikforschung (1946- ) and Gesellschaft für Musikforschung (1946- ). Internationaler Kongress, eds. Mbira music / musics: Structures and processes : papers presented at the Symposium III.4 of the 15th International Conference of the Gesellschaft für Musikforschung at the University of Göttingen, 4th-8th September 2012 : Music / Musics, Structures and Processes. Hildesheim: Georg Olms Verlag, 2019.

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Nelson, Karleen Emmrich. The African hand piano. Lake Oswego, Or. (2615 SW Orchard Hill Ln., Lake Oswego 97095): Emmrich-Nelson Pub. Co., 1987.

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Chartwell, Dutiro, and Howard Keith 1956-, eds. Zimbabwean mbira music on an international stage: Chartwell Dutiro's life in music. Aldershot, England: Ashgate, 2007.

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Book chapters on the topic "Mbira"

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Amoros, Luis Gimenez. "Lyrics and Reinterpretations of Shona-Mbira Recordings." In Tracing the Mbira Sound Archive in Zimbabwe, 46–53. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-5.

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Amoros, Luis Gimenez. "Introduction." In Tracing the Mbira Sound Archive in Zimbabwe, 1–11. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-1.

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Amoros, Luis Gimenez. "The Digital Return in the Place of the Recordings." In Tracing the Mbira Sound Archive in Zimbabwe, 103–12. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-10.

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Amoros, Luis Gimenez. "Curricula Transformation in the African Academy Through the Sound Archive." In Tracing the Mbira Sound Archive in Zimbabwe, 113–20. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-11.

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Amoros, Luis Gimenez. "The Mobilisation of Shona Musical Identity During Colonial Times." In Tracing the Mbira Sound Archive in Zimbabwe, 15–21. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-2.

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Amoros, Luis Gimenez. "Reconsidering the Colonial Creation of Shona Musical Identity and Shona Mbiras in the Sound Archive." In Tracing the Mbira Sound Archive in Zimbabwe, 22–31. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-3.

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Amoros, Luis Gimenez. "An Attempt to Link Colonial and Postcolonial Narratives." In Tracing the Mbira Sound Archive in Zimbabwe, 32–45. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-4.

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Amoros, Luis Gimenez. "The Centralisation of Great Zimbabwe and the Multiple Versions of Chaminuka in the Sound Archive." In Tracing the Mbira Sound Archive in Zimbabwe, 57–69. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-6.

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Amoros, Luis Gimenez. "Chimurenga Music." In Tracing the Mbira Sound Archive in Zimbabwe, 70–82. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-7.

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Amoros, Luis Gimenez. "Digital Return and Revitalisation of the Sound Archive in Zimbabwe." In Tracing the Mbira Sound Archive in Zimbabwe, 85–94. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780429505539-8.

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Conference papers on the topic "Mbira"

1

Xu, Jingyan, and Frederic Noo. "Adaptive smoothing algorithms for MBIR in CT applications." In The Fifteenth International Meeting on Fully Three-Dimensional Image Reconstruction in Radiology and Nuclear Medicine, edited by Samuel Matej and Scott D. Metzler. SPIE, 2019. http://dx.doi.org/10.1117/12.2534928.

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Kagalwala, Taher E., Brian M. Erwin, Victoria L. Calero-DdelC, Yuri M. Brovman, and Jonny Hoglund. "MBIR characterization of Photosensitive Polyimide in high volume manufacturing." In 2014 25th Annual SEMI Advanced Semiconductor Manufacturing Conference (ASMC). IEEE, 2014. http://dx.doi.org/10.1109/asmc.2014.6846975.

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Le Cunf, Delphine, Leif Jonny Hoglund, and Nicolas Laurent. "In-line metrology of high aspect ratio structu with MBIR technique." In 2011 22nd Annual IEEE/SEMI Advanced Semiconductor Manufacturing Conference (ASMC). IEEE, 2011. http://dx.doi.org/10.1109/asmc.2011.5898169.

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Duru, R., D. Le-Cunff, T. Nguyen, D. Barge, Y. Campidelli, N. Laurent, and J. Hoglund. "MBIR for in-line doping metrology of epitaxial SiGe:B and SiC:P layers." In 2013 24th Annual SEMI Advanced Semiconductor Manufacturing Conference (ASMC 2013). IEEE, 2013. http://dx.doi.org/10.1109/asmc.2013.6552811.

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Sheikh, Ali G., Casey J. Pellizzari, Sherman J. Kisner, Gregery T. Buzzard, and Charles A. Bouman. "DYNAMIC DH-MBIR FOR PHASE-ERROR ESTIMATION FROM STREAMING DIGITAL-HOLOGRAPHY DATA." In 2023 57th Asilomar Conference on Signals, Systems, and Computers. IEEE, 2023. http://dx.doi.org/10.1109/ieeeconf59524.2023.10477047.

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Li, Yi, Jing Li, Tianshu Wang, Maosen Lian, and Shouhua Luo. "Micro-CT imaging of super-resolution MBIR algorithm based on sub-pixel displacement." In Physics of Medical Imaging, edited by Hilde Bosmans and Guang-Hong Chen. SPIE, 2020. http://dx.doi.org/10.1117/12.2549418.

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Ye, Dong Hye, Somesh Srivastava, Jean-Baptiste Thibault, Ken D. Sauer, and Charles A. Bouman. "ROI reconstruction for model-based iterative reconstruction (MBIR) via a coupled dictionary learning." In SPIE Medical Imaging, edited by Thomas G. Flohr, Joseph Y. Lo, and Taly Gilat Schmidt. SPIE, 2017. http://dx.doi.org/10.1117/12.2248087.

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Zhang, Chuanwei, Shiyuan Liu, and Tielin Shi. "MBIR reflectance spectrometry for deep trench structure with ANN and Levenberg-Marquardt combined algorithm." In 2008 3rd International Conference on Sensing Technology (ICST 2008). IEEE, 2008. http://dx.doi.org/10.1109/icsenst.2008.4757104.

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Sheikh, Ali G., Casey J. Pellizzari, Sherman J. Kisner, Gregery T. Buzzard, and Charles A. Bouman. "Dynamic DH-MBIR for low-latency wavefront estimation in the presence of atmospheric boiling." In Unconventional Imaging, Sensing, and Adaptive Optics 2023, edited by Santasri R. Bose-Pillai, Jean J. Dolne, and Mark F. Spencer. SPIE, 2023. http://dx.doi.org/10.1117/12.2676406.

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Chen, Baiyu, Ehsan Samei, James Colsher, Huiman Barnhart, Daniele Marin, and Rendon Nelson. "Precision of iodine quantification in hepatic CT: effects of reconstruction (FBP and MBIR) and imaging parameters." In SPIE Medical Imaging, edited by Norbert J. Pelc, Ehsan Samei, and Robert M. Nishikawa. SPIE, 2011. http://dx.doi.org/10.1117/12.878833.

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