Relevant bibliographies by topics / Mbira music

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

Academic literature on the topic 'Mbira music'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "Mbira music"

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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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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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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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Chidanyika, Tinashe. "Zimbabwean mbira music on an international stage: Chartwell Dutiro's life in music." Journal of Musical Arts in Africa 5, no. 1 (July 2008): 91–95. http://dx.doi.org/10.2989/jmaa.2008.5.1.7.790.

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Hancock-Barnett, Coralie. "Colonial resettlement and cultural resistance: the mbira music of Zimbabwe." Social & Cultural Geography 13, no. 1 (February 2012): 11–27. http://dx.doi.org/10.1080/14649365.2011.635799.

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Perman, Tony. "Musical meaning and indexicality in the analysis of ceremonial mbira music." Semiotica 2020, no. 236-237 (December 16, 2020): 55–83. http://dx.doi.org/10.1515/sem-2018-0057.

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AbstractIn this essay I examine three different indexical processes that inform meaning during a mbira performance in Zimbabwe in order to clarify the nature of meaning in musical practice. I continue others’ efforts to provincialize language and correct the damage done by “symbolocentrism’s” continued reliance on post-Saussurian models of signification and structure by addressing processes of purpose, effect, and agency in meaning. Emphases on language and/or structure mislead explanations of musical meaning and compromise the understanding of meaning itself. By foregrounding the unique properties of indexicality in musical practice, and highlighting three distinct indexical processes that drive music’s meaning (deictic, metonym, and replica), I help free meaning from language and offer an ethnomusicological counterpoint to multidisciplinary efforts that define meaning within linguistic and physiological paradigms. Indexical meaning is direct but unpredictable, rooted in experience, embodied habits, and the here and now.
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Mark, Andrew. "The Sole Mbira: An Ecomusicological Critique of Singularity and North American Zimbabwean Music." TOPIA: Canadian Journal of Cultural Studies 37 (April 2017): 157–88. http://dx.doi.org/10.3138/topia.37.157.

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von Fremd, Sarah, and Paul F. Berliner. "The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe." African Studies Review 37, no. 3 (December 1994): 158. http://dx.doi.org/10.2307/524927.

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Dissertations / Theses on the topic "Mbira music"

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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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M?ndez, Sastoque Marlon Javier. "Ruralidades em disputa na regi?o cafeeira do munic?pio de Manizales, Col?mbia." Universidade Federal Rural do Rio de Janeiro, 2010. https://tede.ufrrj.br/jspui/handle/jspui/2181.

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Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2018-01-26T11:55:08Z No. of bitstreams: 1 2010 - Marlon Javier M?ndez Saztoque.pdf: 4014811 bytes, checksum: 7538e5c2b02c55d16453765650c5b111 (MD5)
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior, CAPES, Brasil.
Following the identification and analysis of multiple ruralities in dispute, that is, the interaction between frames of differentiated social relations generated by actors gathered around certain common purposes, informed, and characterized by different ways of representing the country that guides the conduct of various actors , the thesis aims to analyze the dynamics of the rural municipality of Manizales, State of Caldas, Colombia. The analysis is based on the identification of conflicts and solidarities of the interaction between the various actors who mobilize the rural dynamics (agricultural producers, farmers, environmentalists, activists, academics and students, visitors and tourists, among others), from the junction of four operational categories (productive rurality, contestatory rurality, hedonistic rurality, fragile rurality), and synthesizer designed as descriptors of the various ways of perceiving the rural identifiable locally. The points of divergence and convergence findings shall go around five major themes: a) the disagreement between specialization in coffee crop diversification or agri-food production as an alternative for local farmers, b) the dispute arose over the treatment of family farmers unproductive as actors and their design as social and political actors with the potential to operate with greater autonomy, c) the approach of the proposed conversion agroecology as a strategy to create a "new society" as opposed to their conception and design of adjustment to the demands of contemporary market dynamics, d) the divergence between the rural tourism as an opportunity for private business and his understanding as a community development strategy, and e) the disagreement between the decision to encourage youth to stay in rural areas and encourage their departure. Finally, analysis of the dispute stems ruralities in a series of guidelines about how to leverage synergies and negotiate the conflicts found, working as informants for the formulation of local development policies.
Partindo da identifica??o e an?lise das m?ltiplas ruralidades em disputa, isto ?, da intera??o entre tramas diferenci?veis de rela??es sociais geradas por atores congregados em torno de certos prop?sitos comuns, informadas e caracterizadas pelas diversas formas de representar o rural que orienta o proceder destes diversos atores, a tese visa analisar a din?mica rural do munic?pio de Manizales, Estado de Caldas, Col?mbia. A an?lise se fundamenta na identifica??o de conflitos e solidariedades resultantes da intera??o entre os diversos atores que mobilizam a din?mica rural (produtores agr?colas, extensionistas, ambientalistas, ativistas, acad?micos e estudantes, visitantes e turistas, dentre outros), a partir do cruzamento de quatro categorias operativas (ruralidade produtivista, ruralidade contestat?ria, ruralidade hedon?stica e ruralidade fragilizada), concebidas como descritoras e sintetizadoras das variadas formas de perceber o rural identific?veis no ?mbito local. Os pontos achados de diverg?ncia e converg?ncia iram em torno de cinco eixos principais: a) o desentendimento entre a especializa??o na cultura do caf? ou a diversifica??o agroalimentar como alternativa produtiva para os agricultores familiares locais, b) a disputa suscitada sobre o tratamento dos agricultores familiares como atores improdutivos e sua concep??o como atores sociais e pol?ticos com potencial para atuar com maior autonomia, c) a abordagem da proposta de reconvers?o agroecol?gica como estrat?gia para criar uma ?nova sociedade? em contraposi??o a sua concep??o como projeto de ajuste ?s demandas contempor?neas da din?mica de mercado, d) a diverg?ncia entre o turismo no espa?o rural como oportunidade privada de neg?cio e seu entendimento como estrat?gia de desenvolvimento comunit?rio, e e) o desacordo entre a decis?o de estimular a perman?ncia dos jovens nos espa?os rurais e incentivar sua sa?da. Finalmente, a an?lise das ruralidades em disputa deriva numa s?rie de lineamentos acerca de como potencializar as sinergias e negociar os conflitos encontrados, ?teis como informantes da formula??o de pol?ticas locais de desenvolvimento.
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Matiure, Perminus. "The relationship between mbira dzavadzimu modes and Zezuru ancestral spirit possession." Thesis, 2009. http://hdl.handle.net/10413/475.

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Muranda, Richard. "A comparison of software-based staff notation and indigenous memorization methods in teaching the nyunga nyunga mbira." Diss., 2011. http://hdl.handle.net/2263/23993.

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The research was based on a comparison of traditional African and software-based staff notation methods in the teaching of the nyunga nyunga mbira to two grade six classes in the Arts and Culture learning area at Pretoria Chinese School in South Africa. The experiment involved 30 pupils whom the researcher exposed to the nyunga nyunga mbira an African musical instrument. The classes had 15 learners each with grade 6L as the control group and grade 6M the experimental one. The research was conducted during the Arts and Culture lessons from 9 September 2010 to 10 November 2010. The nyunga nyunga mbira tune Kukayiwa with four variations was taught to both the control and experimental groups. Whereas the control group was taught to play the instrument through the rote method, the experimental received instruction using the computer-assisted approach. Proceedings in each of the teaching sessions were diarized. Audio and video recordings and photographs of pupils’ activities were also undertaken. An assessment of the pupils’ performance in both the control and the experimental groups was done to ascertain the effectiveness of each of the methods being researched. The results showed that both methods were effective in the teaching of the nyunga nyunga mbira. In terms of pupils’ performance the methods had the same impact upon the learners. However, the pupils in the control group started off with a better performance than their counterparts in the experimental group. The experimental group became more consistent than the control group towards the end of the research. The research findings also indicate that the pupils involved in this research liked the inclusion of the nyunga nyunga mbira in the Arts and Culture lessons. The instrument proved that it could fit well in the core components of the Arts and Culture learning area which are art, dance, drama and music. The nyunga nyunga mbira music performed during the research was effective in storytelling, dance, movement and drama, especially with the extra afternoon session learners. Even though the computer-assisted method began to yield consistent performance among the learners it was concluded that neither of the two methods was better than the other. Nonetheless it is recommended that further research be conducted and more time be allocated to this kind of research to verify the method that may hold more advantages for the learners in the performance of the nyunga nyunga mbira. Additional information available on a CD stored at the Merensky Library on Level 3.
Dissertation (MMus)--University of Pretoria, 2012.
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Books on the topic "Mbira music"

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

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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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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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El marimbol: Orígenes y presencia en México y en el mundo. Xalapa, Ver., México: Universidad Veracruzana, 2005.

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Mbira maker blues: A healing journey to Zimbabwe. San Francisco: Jambu Press an expression of Studio Saraswati, 2010.

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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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Capp, Myrna. Keeping the embers alive: Musicians of Zimbabwe. Trenton, NJ: Africa World Press, 2008.

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Brenner, Klaus-Peter. Chipendani und Mbira: Musikinstrumente, nicht-begriffliche Mathematik und die Evolution der harmonischen Progressionen in der Musik der Shona in Zimbabwe. Göttingen: Vandenhoeck & Ruprecht, 1997.

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The soul of mbira: Music and traditions of the Shona people of Zimbabwe : with an appendix, Building and playing a Shona karimba. Chicago: University of Chicago Press, 1993.

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Seeing with music: The lives of 3 blind African musicians. Seattle: University of Washington Press, 1996.

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Book chapters on the topic "Mbira music"

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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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Matiure, Perminus. "Ethnographic Fieldwork and the Safeguarding of the Indigenous Shona Mbira Music Heritage of Zimbabwe." In The Routledge Companion to Ethics and Research in Ethnomusicology, 129–39. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003043904-15.

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