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Journal articles on the topic 'Mbira music'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Grupe, Gerd, and Klaus-Peter Brenner. "Chipendani und Mbira. Musikinstrumente, nichtbegriffliche Mathematik und die Evolution der harmonischen Progressionen in der Musik der Shona in Zimbabwe." Yearbook for Traditional Music 32 (2000): 211. http://dx.doi.org/10.2307/3185270.

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12

Masasabi, Nancy A., and Fred W. Kususienya. "THE GLOBALISATION OF AFRICAN MUSICAL INSTRUMENTS: A CASE OF THE ADEUDEU OF TESO COMMUNITY IN KENYA." African Musicology Online 11, no. 1 (December 30, 2022): 85–99. http://dx.doi.org/10.58721/amo.v11i1.79.

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There are various insights into the discourse of musical culture from a global context. Some of these insights include the impact of globalisation on the music industry and African music-making at large. African musical instruments continue to be cultural artifacts and productions of immaterial culture and music. African instruments have not remained static but have responded to intercultural reciprocity. This study stems from an ambit that has discussed African traditional musical instruments such as the Mbira, Kora, Djembe, and Endara of West and South Africa but needs to pay more attention to those from East Africa and Kenya in particular. This paper is a case study of the Adeudeu (a chordophone), a principal instrument of the Teso community in Western Kenya and a symbol of their cultural identity. The purpose is to highlight the extent to which traditional musical performances have been appropriated and retained in the contemporary setting creating their popular music. The study engaged eight musical groups drawn from each of Teso district’s divisions, selected through purposive and snowball sampling. Qualitative data analysis was used. The paper analyses music performed on the traditional Adeudeu vis a vis that performed on the contemporary Adeudeu to elucidate similarities and differences in music making. The argument is that a change in one element of the musical ensemble has ramifications on the music producing a different ‘musical colour’. The paper culminates in highlighting changes that have taken place on the instrument and the overall musical rendition of the Teso.

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13

Kyker, Jennifer W. "The Art of Mbira: Musical Inheritance and LegacyMbira's Restless Dance: An Archive of Improvisation, Vols. 1 & 2." Ethnomusicology 66, no. 3 (October 1, 2022): 522–28. http://dx.doi.org/10.5406/21567417.66.3.10.

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14

de Jong, Nanette. "The Art of Mbira: Musical Inheritance and Legacy. By Paul F. Berliner. Chicago, IL: University of Chicago Press, 2020. 609 pp. ISBN 978-0-226-62868-4." Popular Music 40, no. 3-4 (December 2021): 525–27. http://dx.doi.org/10.1017/s026114302200006x.

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15

Tracey, Andrew. "Zimbabwe Mbira Music on an International Stage: Chartwell Dutiro’s Life in Music, Edited by Cartwell Dutiro and Keith Howard, SOAS Musicology Series, Ashgate: London. 2007, 98 pages, with CD: “Taanerimwe”, Chartwell Dutiro with Spirit Talk Mbira Live at Gateway (Gateway, SOAS Cat.No. SOASIS - 03), Hardbound: ISBN-13: 978-0-7546-5799-6." African Music: Journal of the International Library of African Music 8, no. 2 (2008): 120–22. http://dx.doi.org/10.21504/amj.v8i2.1787.

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16

Goddard, Keith. "THE SOUL OF MBIRA TWENTY YEARS ON:A RETROSPECT, Part 1: THE SOUL OF MBIRA: MUSIC AND TRADITIONS OF THE SHONA PEOPLE OF ZIMBABWE, by Paul Berliner, Univ. of Chicago Press, Chicago and London, 1994 (first published Univ. of California Press, Berkeley, 1978), 312pp, illustrations, transcriptions, appendices, index." African Music: Journal of the International Library of African Music 7, no. 3 (1996): 76–90. http://dx.doi.org/10.21504/amj.v7i3.1966.

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17

Chernoff, John M. "THE SOUL OF MBIRA TWENTY YEARS ON:A RETROSPECT, Part 2: THE SOUL OF MBIRA: MUSIC AND TRADITIONS OF THE SHONA PEOPLE OF ZIMBABWE, by Paul Berliner, Univ. of Chicago Press, Chicago and London, 1994 (first published Univ. of California Press, Berkeley, 1978), 312pp, illustrations, transcriptions, appendices, index." African Music: Journal of the International Library of African Music 7, no. 3 (1996): 90–95. http://dx.doi.org/10.21504/amj.v7i3.1967.

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18

Dalamba, Lindelwa. "Zimbabwean Mbira Music on an International Stage: Chartwell Dutiro’s Life in Music. Edited by Chartwell Dutiro and Keith Howard. SOAS Musicology Series. Aldershot, UK & Burlington, VT: Ashgate, 2007. xiii+101 pp. ISBN 978-0-7546-5799-6 (hb)." Popular Music 27, no. 3 (October 2008): 502–6. http://dx.doi.org/10.1017/s0261143008292251.

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19

Saperston, B. M. "Music-Based Individualized Relaxation Training (MBIRT): A Stress-Reduction Approach for the Behaviorally Disturbed Mentally Retarded." Music Therapy Perspectives 6, no. 1 (January 1, 1989): 26–33. http://dx.doi.org/10.1093/mtp/6.1.26.

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20

Rafomoyo, Fredrick. "Complex Interdependence and the Epistemic Debate on Zimbabwean Mbira Music: A Critical Review of the Mbira Google Doodle." SSRN Electronic Journal, 2021. http://dx.doi.org/10.2139/ssrn.3881790.

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21

Mugovhani, N. G., and Lebogang Lance Nawa. "The Socio-Economic Challenges of South African Indigenous Musicians: A Case Study of Venda-Based Vho-Ntshengedzeni Mamphodo." Southern African Journal for Folklore Studies 29, no. 1 (June 14, 2019). http://dx.doi.org/10.25159/1016-8427/3814.

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This article discusses and raises awareness about the socio-economic plight of indigenous musicians in South Africa. Through a qualitative case study of the Venda musician, Vho-Talelani Andries Ntshengedzeni Mamphodo, dubbed the â€œFather of mbila music,â€ the article highlights the fact that the welfare of Black South African artists, particularly indigenous musicians in South Africa, is generally a precarious affair. Their popularity, at the height of their careers, sometimes masks shocking details of exploitation, neglect, and the poverty they are subjected to, which are exposed only after they have died. Empirical data identifies this as a symptom of, among other things, cultural policy and arts management deficiencies in the promotion of indigenous music. The article aims to find ways to redress this unfortunate situation, which is partially a product of general apathy and scant regard that these artists have perennially been subjected to, even by their own governments, as well as some members of their societies. All these factors mentioned are compounded by ignorance on the part of South African artists. Part of the objective of this study was to establish whether the exposition of the Vhavenda musicians is a typical example of all Black South African indigenous musicians and, if this is the case, whether the suggested ways to redress this unfortunate situation could contribute to or play a role in alleviating the plight of such artists in the entire country.

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