Dissertations / Theses: 'Music Ibibio (African people)'

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Friedson, Steven M. "The dancing prophets of Malawi : music and healing among the Tumbuka /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11238.

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Mugandani, Viola Nyemudzai. "Jangwa music and musical performance by the Manyika people of Zimbabwe." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60400.

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Jangwa music is traditional to the Manyika people of Zimbabwe. The Manyika are a sector of the Shona people, occupying a portion of Manicaland Province in the eastern part of Zimbabwe. African societies carefully craft songs for different contexts to serve a functional and educational purpose. The aim of the study was to explore the origin and the structure of jangwa music, the sociological and social psychological functions of the music and its performance, as well as its aesthetic values among the Manyika people. The study utilised focused ethnographical methods. A large group of elderly Manyika people with extensive knowledge and experience who were purposively selected acted as key informants. Data collection strategies included participant and non-participant observation during jangwa music performances, as well as in-depth individual and focus-group interviews. The study employed content analysis and selected songs were transcribed in staff notation using Crescendo Music Notation Software for analysis purposes. The outcomes of the study reveal some form of acculturation in the origin and structure of the music resulting in the music being a contemporary choral music. While some of the songs are for school sporting events, others are to demonstrate pride in teachers, community leaders and natural features within the Manyika region. However, the findings reveal that the majority of jangwa songs are for wedding and marriage ceremonies. Most of the wedding songs focus on the role of brides and married women as a whole, signifying the pivotal role they play within the Manyika society, yet a glimpse of the male roles are heard. In all the contexts, jangwa music contributes in uplifting the sociological and social psychological well-being of performers and audience members. For the Manyika people, the function of jangwa music takes precedence in its aesthetical values. Considering the diminishing of African musical arts, the study recommends the ethno-musicological use of jangwa music in informal and formal education in Zimbabwe for the promotion of indigenous knowledge systems. Jangwa song lyrics convey the distinctive values, virtues, and life skills of the Manyika people, and are therefore inextricably bound to the indigenous fabric and context-specific utilitarian purposes of the music.
Thesis (DMus)--University of Pretoria, 2016.
Music
DMus
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Lebaka, Morakeng Edward Kenneth. "Psalm-like texts in African culture a Pedi perspective /." Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-05302009-110332/.

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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.

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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).

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Pewa, Elliot Sagila. "The philosophical, behavioural and academic merit of uMaskandi music." Thesis, University of Zululand, 2005. http://hdl.handle.net/10530/277.

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A thesis submitted to the Faculty of Arts in fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Music at the University of Zululand, 2005.
This document on umaskandi is about a vocal musical style that was created and nurtured by the Zulu people. Externally and, at a distance, the style may not appear to be artistically captivating, praiseworthy, and linguistically significant. It is but only on closer scrutiny that the aesthetic worth of the music can be realized. Even then, without a considerable research into a sizeable amount of the people's arts in relation to their life activities, a casual listener may not identify any worthiness in the practice of umaskandi music. This is generally the case with all the music of Africa. The music is contained in the life activities of the people. Having discovered the entertaining element in the music, a serious listener will still be faced with the greater challenges of fathoming the organization of sound, the significance of the libretto and the physical execution, in relation to the lifestyles of the performers. The sound of the music, the observed rhythmic activity of the performers, and the language of the libretto and its elocution are only the surface of the activity. There is still, but, more signification in the unsaid source of the music. The reason for the neglect of this music style by Western cultures and by some modern local indigenous Africans, was not a mere oversight, but a result of stigmatization of all African arts by Europeans, whose intention was to dominate the whole of Africa. They would not succeed in managing the people dictatorially without destroying the latter's culture- For some time, therefore, because of such pressures and the demands of the culture of cities, and missionary education, the Westerners were able to 'convert' some Africans against their own (African) culture. Such attempts to 'Europeanize' Africans took place wherever there were European settlers on African soil. But, because of the breadth of the continent, they could not cover the whole surface of the country. Even amongst those that were reached, like the Zulus, there were always people who were not willing to abandon their indigenous heritage. Many were unbending and insisted on maintaining their traditional arts and cultures. It was from such a cultural attitude and disposition that umaskandi idiom was born. The coming in of democratic rule in South Africa has, however, restored the dignity of every human culture in the country. Therefore, all nationalities are free to practise their various cultures with firmness and self-assurance. This attitude lent more confidence to those that performed umaskandi music. It took some time before 'sophisticated' Africans could appreciate the sound and movement in performance of umaskandi performance style. The other nationalities took a little longer. Up to this day, those that have not been orientated in the language of the performers have not grasped the essence in umaskandi music, because of the social contextual nature of the music. Should a form of prejudice against indigenous African languages be sustained, ignorance about the life and thought patterns of Africans shall grow. This will be a drawback for the South African people as a whole. This phenomenon is worthy of mention because the propagation of isiZulu is getting threatened in many ways. First: There is a big population of Zulu and non-Zulu learners that do not receive tuition of their vernacular because some school managers are negative towards African languages. Secondly: Umaskandi musicians, who are the custodians of isiZulu language and culture, and other Zulu artistes, shall never be comprehended if the language is ignored. So, for those unfortunate learners who do not have isiZulu in their curriculum, the doors are closed on both sides. Since they are not given tuition in the classroom, they are most likely to develop a negative attitude towards the language, which would be a great disaster. In their schooling career, they will also miss the further * education through music' that is provided by Zulu music practitioners at large. Umaskandi musicians, who are speakers of isiZulu language, are in their own way, keepers and propagators of isiZulu culture. Their instruments are tuned in isiZulu style, which is their own instrumental creation bashed on their singing style. Their libretto is in isiZulu. They are historians of isiZulu life and its relevant culture of yesteryear. This will be missed. Umaskandi concept, which embraces the isiZulu instrumental tuning, isiZulu manner of dancing, isiZulu vocal harmony and isiZulu elocution of izibongo (praise poetry) , originated in the indigenous lives of the Zulu people. These people were so solid in their belief and practice that they clang tenaciously onto their culture even when they were exposed to a conglomeration of foreign cultures in the horrible mining environment. Umaskandi concept, therefore, had an effect on the people's behaviour. When the African indigenous people came across the new musical instrumentation at their disposal, they adapted the latter and used them to become an extension of their vocal styles. When conditions in the mines were depressing, degrading and debasing, they painfully sang of the good life that they had left behind in their indigenous homes. Through this umaskandi style, they have, therefore, been able to relate a people's history. The final question in the last chapter is whether umaskandi concept can be a method of education in the performance of instruments just as tonic solfa is a method of vocal music. The question can be extended further to inquire whether umaskandi concept can be a method of moral and cul tural determination and perseverance as it has been the case with Zulu musicians.

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Schöpf, Jürgen K. "The Serankure and music in Tlôkweng, Botswana /." Berlin : VWB-- Verlag für Wissenschaft und Bildung, 2008. http://d-nb.info/986637866/04.

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Maraire, Dumisani. "The position of music in Shona mudzimu (ancestral spirit) possession /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11274.

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Rutsate, Jerry. "Performance of Mhande song-dance: a contextualized and comparative analysis." Thesis, Rhodes University, 2008. http://hdl.handle.net/10962/d1002321.

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.

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Ekong, Ivan. "The IBIBIO concept of peace and its implications for preaching: a practical theological study within the AKWA Synod of the Presbyterian church of Nigeria." Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86584.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: The topic of this research is the Ibibio concept of peace and its implications for preaching: A practical theological study within the Akwa Synod of the Presbyterian Church of Nigeria (PCN). Conflict and violence are phenomena that are common to every human society. It would not be an overstatement to say that conflicts, war and various forms of violence are clear indications of a lack of peace in any given society. Numerous studies have been done by scholars of peace and international relations as well as social anthropologists political scientists, etcetera on themes related to peace-making, peace negotiation, peace-building, conflict resolution, and conflict transformation, especially in terms of national and international peace. International organizations, various nations, non-governmental organizations, as well as faith-based organizations have invested so much in the way of resources and energy in the search for peace, yet, the attainment of peace in our human society remains a mirage. On a daily basis, media reports indicate that, all over the world, violence is on the increase, sending thousands of innocent people to early graves. In Africa, the story is even worse. Different approaches towards achieving peace have failed to yield the needed positive peace. Yet, little or nothing has been done in terms of searching for peace within the indigenous African context. In other words, indigenous initiatives, ideas and approaches towards peace and peace-building have been ignored in the field of scholarship. The question is: What could be the role of the Church, its theology as well as its preaching towards the development of peace initiatives that are both theological and indigenous to the Ibibio people of Nigeria, given the volume of different forms of violent conflict that the people experience daily. This study is based on the assumption that, if the Church critically examines indigenous Ibibio peace approaches, it may discover a missing link that could make this become effective in preaching peace among the Ibibio people who live in pain, hurts and poverty as a result of violence, thereby closing a gap in knowledge. Therefore, the aim of this study is to examine critically whether the PCN’s Akwa Synod and its leaders do in fact understand the Ibibio concept of peace, or not, and what the Church could draw from indigenous peace initiatives in order to make its preaching, as well as its peace-building practice, effective and relevant within the Ibibio social context. Indigenous Ibibio people, both Church and community leaders and lay members of three congregations of the PCN’s Akwa Synod were included as respondents. Using a mixed method approach, through a questionnaire, focus groups and individual interview; data under review were obtained for the study. The interdisciplinary nature of this study informed the use of both theoretical and methodological triangulation. The empirical findings of this research reveal: Firstly, Ibibio people understand peace as the absence of violence. Secondly, the lack of peace has physical, psychological, economic, social, as well as political consequences in people’s lives which, basically, result in deaths, suffering, injustice, poverty and the human person’s loss of dignity. Thirdly, justice and peace are significant elements for the well-being of society. Fourth, religiosity could influence the way the Ibibio people act and do things. Fifth, the leaders of the PCN’s Akwa Synod do understand the Ibibio concept of peace, even though the Church is yet to articulate a standardized peace-building procedure and training in a detailed document. Yet members and leaders, being mostly Ibibio natives, know what the Ibibio peace is all about. This study has offered suggestions on how the PCN could integrate indigenous peace initiatives in order to become more effective in preaching peace within the Ibibio context.
AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om die Ibibio konsep van vrede en die implikasies daarvan vir die prediking te ondersoek, as ‘n prakties-teologiese studie binne die Akwa Sinode van die Presbiteriaanse Kerk van Nigerië (PCN). Konflik en geweld is verskynsels wat algemeen voorkom in alle menslike samelewings. Dit is nie oordrewe om te sê dat konflikte, oorlog en verskeie vorme van geweld duidelike tekens is van 'n gebrek aan vrede in enige gegewe samelewing nie. Kenners van internasionale betrekkinge, sowel as sosiale antropoloë en politieke wetenskaplikes, ensovoorts, het al veel oor temas verwant aan die kwessie van vrede geskryf (oor vrede-maak, vrede onderhandel, vrede-bou, konflik en konflik transformasie, ensovoorts), veral in terme van nasionale en internasionale vrede. Internasionale organisasies, nie- regeringsorganisasies, sowel as talle geloof-gebaseerde organisasies het al baie belê in terme van hulpbronne en energie in die soeke na vrede, maar tog bly die bereiking van vrede in ons menslike samelewing blykbaar 'n illusie. Op 'n daaglikse basis dui media-verslae daarop dat geweld aan die toeneem is oor die hele wêreld - geweld wat duisende, onskuldige mense te vroeg na hulle grafte stuur. In Afrika is die situasie nog erger. Verskillende benaderings tot die bereiking van vrede het misluk om die nodige positiewe vrede te lewer. In werklikheid is min, of niks, in terme van die soeke na vrede in sommige inheemse Afrika-kontekste gedoen. Met ander woorde, inheemse inisiatiewe, idees en benaderings tot vrede en vrede-bou is grootliks geïgnoreer, veral in wetenskaplike vakgebiede. Die vraag is: wat kan die rol van die kerk, die teologie, sowel as die prediking wees in die ontwikkeling van vrede-inisiatiewe wat beide teologies van aard en inheems aan die Ibibio mense van Nigerië is, gegewe die omvang van die verskillende vorme van gewelddadige konflik wat die mense daagliks ervaar. Hierdie studie is gebaseer op die aanname dat, indien die kerk kritiese ondersoek doen na die inheemse Ibibio vrede-benaderings, dit 'n vermiste skakel kan ontdek in die verkondiging van die evangelie van vrede onder die Ibibio mense, wat as gevolg van geweld in pyn, seer en armoede leef, en dat daardeur 'n gaping in kennis gevul kan word. Daarom is die doel van hierdie studie om krities te ondersoek of die PCN se Akwa Sinode en sy leiers die Ibibio konsep van vrede in werklikheid verstaan, of nie; en wat die kerk positief kan benut uit inheemse vrede-inisiatiewe om haar prosesse van preekmaak, sowel as haar vrede-bou praktyke, effektief en relevant binne die Ibibio sosiale konteks te maak. Inheemse Ibibio mense, wat kerk – en gemeenskap leiers en lidmate van drie gemeentes van die PCN se Akwa sinode ingesluit het, het gedien as respondente in die empiriese navorsing. Met behulp van 'n gemengde metode benadering, deur middel van 'n vraelys, fokus groepe en individuele onderhoude is data verkry vir die studie. Die interdissiplinêre aard van hierdie studie het die gebruik van beide teoretiese en metodologiese triangulasie genoodsaak. Die empiriese bevindinge van die navorsing het die volgende na vore laat kom: Eerstens, Ibibio mense verstaan vrede as die afwesigheid van geweld. Tweedens, die gebrek aan vrede het fisiese, psigologiese, ekonomiese, sosiale, sowel as politieke gevolge in mense se lewens, wat basies lei tot sterftes, lyding, onreg, armoede en verlies van menswaardigheid. Derdens, geregtigheid en vrede is belangrike elemente vir die welstand van die samelewing. Vierdens, godsdienstigheid kan die manier waarop die Ibibio mense optree beïnvloed. Vyfdens, die leiers van die PCN se Akwa Sinode verstaan wel die Ibibio konsep van vrede, selfs al het die Kerk nog nie hul gebrek aan 'n gestandaardiseerde vrede-bou prosedure en opleiding in 'n gedetailleerde dokument verwoord nie. Tog weet lede en leiers, wat meestal tot die Ibibio bevolking behoort, waaroor Ibibio vrede ten diepste handel. Hierdie studie bied voorstelle aan oor hoe om PCN inheemse vrede-inisiatiewe te integreer ten einde meer effektief te preek oor vrede binne die konteks van die Ibibio.

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Swarts, Karen. "Studie van die huidige musikale gebruike onder die jeug van die !Xun en Khwe San." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1942.

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Thesis (MMus (Music))--Stellenbosch University, 2008.
This study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.

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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.

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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.

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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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Durán, Lucy. "Stars and songbirds Mande female singers in urban music, Mali 1980-99 /." Boston Spa, U.K. : British Library Document Supply Centre, 1999. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.340348.

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Campbell, Corinna. "Gyil music of the Dagarti people learning, performing, and representing a musical culture /." Connect to this title online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1130865608.

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Eagleson, Ian. ""Nyatiti is my people" Music and the Reconstruction of Culture Among the Luo of Western Kenya." Oberlin College Honors Theses / OhioLINK, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1544696356736898.

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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.

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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.

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Lewis, Mary Christine. "A cultural biography of Mantombi Matotiyana and Maxanjana Mangaliso : two contemporary African musicians." Thesis, Stellenbosch : University of Stellenbosch, 2001. http://hdl.handle.net/10019.1/52073.

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Thesis (MMus) -- University of Stellenbosch, 2001.
ENGLISH ABSTRACT: This study aims to present a cultural monograph of two contemporary South African musicians, Mantombi Matotiyana and Maxanjana Mangaliso. Both musicians are highly regarded and respected for their exceptional musical abilities within their community and society, as well as abroad. This study furthermore wishes to make a contribution towards the establishment of 'experience-based' ethnomusicological field research in South Africa. In keeping with these aims, the material, which has been assembled from personal interviews with Matotiyana and Mangaliso, is in narrative. It is based on their personal memories, recollections and perspectives, as well as their views about and attitudes towards their songs, all aspects of composition, instruments and performance. The study therefore looks at the interaction between the lives and the songs of Matotiyana and Mangaliso and relates it to their relevant experiences. The musicological study of Matotiyana's songs further illuminates her particular style, as well as her contribution to contemporary Xhosa bow songs in general, especially within the broader context of Xhosa musical traditions.
AFRIKAANSE OPSOMMING: Hierdie studie poog om 'n kulturele monografie van die twee kontemporêre Suid- Afrikaanse musici Mantombi Matotiyana en Maxanjana Mangaliso voor te lê. Beide kunstenaars word as gevolg van hul buitengewone musikale bekwaamhede besonder hoog aangeskryf en gerespekteer, sowel binne hul eie breë gemeenskap asook in die buiteland. Terselfdertyd poog hierdie studie om 'n bydrae te maak tot die vestiging van die sg. "experience-based" tipe etnomusikologiese veldwerk in Suid-Afrika. Dienooreenkomstig word die inligting wat deur middel van persoonlike onderhoude met Matotiyana en Mangaliso versamel is, in verhaalvorm aangebied. Dit is gebaseer op hul eie herinneringe en perspektiewe, asook hulopvattings t.o.v. hul liedere, alle aspekte van hul komposisie, hul instrumente en opvoerings. Die studie kyk gevolglik na die wisselwerking tussen die twee musici se lewens en hul musiek en bring hul eie ervarings in hierdie verband ter sprake. Verder verskaf die analitiese studie m.b.t. die liedere van Matotiyana insig in haar unieke styl en bydrae tot eietydse Xhosa boogmusiek, veral binne die breër konteks en tradisies van Xhosa musiek in die algemeen.

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Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.

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Thesis (MA. (African Languages)) --University of Limpopo, 2013
Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.

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Gimenez, Amoros Luis. "Transnational habitus : Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017819.

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This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.

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Wakaba, Philip N. "Preserving traditional Agikuyu music : the development of a comprehensive teaching guide." CardinalScholar 1.0, 2009. http://liblink.bsu.edu/uhtbin/catkey/1536757.

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Access to abstract permanently restricted to Ball State community only
Titles of accompanying sound discs. Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music.
Access to thesis permanently restricted to Ball State community only
Titles of accompanying sound discs: Kikuyu folk songs. Vol. 1, Muthunguci -- Aciari mutuge ngemi / by Nyamuga C. Troupe -- Kikuyu folk songs. Vol. 1, Adults only / complied and arranged by Joseph Kamaru -- Muna 2 / by Nyamuga Troupe -- Agikuyu traditional music.
School of Music

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Webb, Adenike Ayana. ""The Full Has Never Been Told": An Arts-Based Narrative Inquiry Into the Academic and Professional Experiences of Black People in American Music Therapy." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/587254.

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Music Therapy
Ph.D.
The purpose of this study was to examine the ways in which the academic and professional experiences of Black people in American music therapy reflect current attitudes within the field towards diversity and cultural awareness, and how understanding those experiences can lead to enhanced, culturally sensitive practice. An arts-based narrative inquiry methodology using poetry was employed as a means to understand the experiences of Black people in the field through artistic forms that invite readers to enter the affective worlds of the participants. A total of 10 music therapy students, clinicians and educators participated in open-ended, semi-structured interviews. Transcripts of these interviews were analyzed for thematic material as well as to provide content for poems in the participants’ voices that described their experiences. Additionally, the researcher created poems responding to each participant that reflected on aspects of the interactions, content and sub-text of the interviews. All poems were analyzed for thematic material. That material was compared with previously derived themes out of which seven main themes emerged. Those themes are: things and people are not as they seem; being the only one/one of a few; self-definition versus being defined by others; adding value to the field; dealing with the status quo; calling for greater cultural awareness, acceptance and equality; and importance of support. Findings indicated that participants did not feel as if they fully belonged in the profession and that the music therapy community inconsistently recognized and addressed the need for diversity, cultural awareness and cultural sensitivity. Implications for music therapy training and practice, along with recommendations for the field and future research are also presented.
Temple University--Theses

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Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.

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Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study

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Smit, Ineke. "Rekenaargesteunde musiekonderrig op hoërskool- en voorgraadse vlak met besondere verwysing na die gebruik van 'n multimediadatabasis van Xhosa musiekterme." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53571.

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Thesis (MMus) -- University of Stellenbosch, 2003.
ENGLISH ABSTRACT: In the modern Western world, secondary and tertiary learners generally have ready access to the use of computers, multimedia and the Internet. As a means to strengthen traditional education, computer-based methods and materials are increasingly being used in the education system and are also strongly recommended by many educational experts. The use of such electronic educational means has however resulted in various changes to the education system. Music educators, too, are subject to these changes. The aim of this study is to determine the extent to which computer-based education can contribute to the strengthening of traditional music education of the Western world. To this end, it is necessary to ascertain, in practice, the value of using computer-based material for the purpose of music education. A multimedia database of Xhosa music terminology was created in the Music Department of Stellenbosch University, with high school learners and undergraduate students as target group. In this thesis, the value of this database, as an example of computer-based material for music education, is assessed. It is intended to extend the database at a later stage through the addition of music terminology from other indigenous music cultures. In its current form, the database thus forms part of a larger whole and is not viewed as a completed enterprise. On the basis of the literature that was studied for the investigation, it is determined whether the multimedia database for Xhosa music terminology measures up to the criteria for effective computer-based programmes. Suggestions are also made for improving the database to ensure a more useful and user-friendly product.
AFRIKAANSE OPSOMMING: In die moderne Westerse wêreld het sekondêre en tersiêre leerders tans redelik algemeen toegang tot die gebruik van rekenaars, multimedia en die Internet. Rekenaargesteunde metodes en materiaal word toenemend ter versterking van die tradisionele onderwysstelsel aangewend, en ook deur talle opvoedkundiges aanbeveel. Die gebruik van dergelike elektroniese onderrigmiddele het egter verskeie veranderings in die onderwysstelsel teweeggebring. Ook musiekopvoeders word deur hierdie veranderings geraak. Die doelstelling van hierdie navorsing is om te bepaal tot watter mate rekenaargesteunde musiekonderrig 'n bydrae kan lewer tot die versterking van tradisionele Westerse musiekonderrig. Om hierdie doelstelling te bereik, is dit noodsaaklik om in die praktyk te bepaal watter waarde rekenaargesteunde onderrigmateriaal het vir die doeleindes van musiekonderrig. 'n Multimediadatabasis van Xhosa musiekterme is in die departement Musiek aan die Universiteit Stellenbosch geskep, met hoërskoolleerders en voorgraadse studente as teikengroep. In hierdie tesis word die waarde van hierdie databasis, as 'n voorbeeld van rekenaargesteunde onderrigmateriaal vir musiekonderrig, geëvalueer. Daar word beoog om die databasis op 'n later stadium verder uit te brei deur ook musiekterme uit ander inheemse musiekkulture by te voeg. Die databasis in sy huidige vorm maak dus deel uit van 'n groter geheel en word nie as 'n afgehandelde databasis beskou nie. Op grond van literatuur wat vir die doel van die ondersoek bestudeer is, word bepaal of die multimediadatabasis van Xhosa musiekterme voldoen aan die kriteria vir doeltreffende rekenaargesteunde onderrigprogramme. Daar word ook voorstelle gemaak oor hoe die databasis verbeter sou kon word om 'n meer bruikbare, gebruikersvriendelike produk te verseker.

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Lawrence, Sidra Meredith. "Killing My Own Snake: Fieldwork, Gyil, and Processes of Learning." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1151067357.

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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.

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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.

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Germiquet, Nicole Madeleine. "Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1020836.

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The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.

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Gimenez, Amoros Luis. "Haul Music : transnationalism and musical performance in the Saharaui refugee camps of Tindouf, Algeria." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002302.

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The thesis presents ethnographic data and musical analysis (in the form of transcriptions) of Haul music which is the music style performed by Bedouin societies in Trab el Bidan region (Mauritania, Western Sahara, northern Mali, southern Algeria and northern Morocco). It is based on field research undertaken in Algeria in 2004-05 in the refugee camps of Tindouf, Algeria, where Saharaui people (a Bedouin society)live in exile. This research is unique and original as Haul has not, until now, been explored in depth by any scholar. My research on Haul reveals that the changes in Saharaui music in the refugee camps of Tindouf reflect changes in the musical traditions of Bedouin societies as whole; changes that can be traced to the revolution which occurred in Western Sahara in 1975, and changes that are a result of the migrations and life in exile that followed. I argue that these changes occurred due to the transnational experiences undergone by Saharaui people in their forced exile (caused by the Moroccan state) from their homeland in Western Sahara to Algeria. Further, I assert that the invocation of memory in Bedouin musical styles is evidence of past musical practices being retained in contemporary Haul performance, although other musical changes are similarly in progress.

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Curtis, Marvin Vernell. ""The People Could Fly": An original musical composition to enhance the learning environment of African-American school students and provide an additional resource for elementary multicultural education." Scholarly Commons, 1990. https://scholarlycommons.pacific.edu/uop_etds/2813.

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The public school learning environment is based on the learning styles of white middle class children. When African-American students enter this environment, they become frustrated because aspects of their culture, which affect how they learn, are excluded. This frustration may be responsible for the high drop-out rates among black students. The research suggests that incorporating African-American cultural attitudes, values, and behaviors in curriculum will help these students achieve. Because folklore and music are important parts of the African-American culture, an arts-based education program using these art forms would aid in teaching African-American students. In addition, involvement of all students in African-American folklore and music furthers the goals of multiethnic education. For this study, a musical was developed for elementary education. It incorporated an African-American folktale, "The People Could Fly", and elements of African-American music. A curriculum guide was developed containing information for the teacher on African-American culture and how it affects learning. A narrative was included for the teacher to read to the students about African-American life and culture, in particular, folklore and music. The guide contains activities for the students and additional resources for the teacher in the areas of African-American music, folklore and multicultural education. The guide was reviewed by twenty-two people from educational fields, revised and subsequently reviewed by four of the same reviewers and two new ones. The musical was performed for elementary school students, videotaped, and critiqued by the teacher involved. All comments were positive about the scope and the need for this kind of project. The researcher recommends that further study be done regarding learning styles of ethnic groups, that more musicals following the premise of this dissertation be created, and that evaluation of their effectiveness be initiated with specific African-American and general populations.

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29

Joiris, Véronique. "La chasse, la chance, le chant: aspects du système rituel des Baka du Cameroun." Doctoral thesis, Universite Libre de Bruxelles, 1998. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211984.

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30

Ndlovu, Caesar Maxwell Jeffrey. "Religion, tradition and custom in a Zulu male vocal idiom." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002315.

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The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.

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Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.

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This study seeks to explore mathematical concepts embedded in traditional Xhosa dance and how these concepts can be incorporated into a learning programme for the teaching and learning of mathematics. The study seeks to gain insight into whether learners could benefit from the implementation of such a learning programme. Learners from a Grade 7 class in a rural school performed traditional Xhosa dances and their performances were captured through video recording. The video recordings were then observed and analysed to determine the mathematical concepts embedded in the dances. These concepts were then linked to those found in the Grade 7 mathematics curriculum. A learning programme integrating mathematical concepts from the dance activities with mathematical concepts from the Grade 7 curriculum was then designed. The learning programme contained mathematical problem solving activities that required learners to re-enact the dance performances in order to find the required solutions. The learning programme was then implemented with the learners over a period of three weeks. During the implementation, learners’ behaviour towards the learning experience was observed, their engagement with the problem solving activities as well as their strategies for solving the problems, were carefully observed. Also, their interactions with each other were noted. After the implementation of the learning programme, focus group interviews were held with learners to determine their opinions, attitudes and feelings about their experience of learning mathematics through traditional Xhosa dance. Key findings indicated that traditional Xhosa dance can be used as a medium for learning many concepts in the mathematics curriculum; the use of the dance gave learners an opportunity to learn mathematics from a familiar context and to participate actively and collaboratively in their learning. Also, it emerged that the use of dance to teach mathematics had potential to help improve learners’ attitudes towards mathematics. Conclusions were reached that the dance had potential for use as a means for the meaningful learning of mathematics. However, limitations and challenges with the study were identified, such as its limited replicability in other mathematics classrooms.

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Rabothata, Thambatshira Tannie. "Women abuse as expressed in Tshivenda female songs." Thesis, University of Limpopo (Turfloop Campus), 2005. http://hdl.handle.net/10386/892.

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Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005
This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.

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Bouttiaux, Anne-Marie. "La danse des hommes, la jubilation des esprits: masques guro de la région de Zuenoula, Côte d'Ivoire." Doctoral thesis, Universite Libre de Bruxelles, 2000. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211693.

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Reeve, Zoë Rose Louise Patricia. "Staged authenticities an exploration of the representations of AmaXhosa culture within the main programme of the National Arts Festival, 2009." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002378.

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This thesis investigates the presentation of AmaXhosa traditional dancing and music on the stages of the National Arts Festival (NAF), Main Programme, of South Africa in 2009. Four productions featuring AmaXhosa traditional dancing and music, as well as a fine art exhibition, are analysed to determine how the AmaXhosa culture is being portrayed, what is considered authentic and how these productions may affect the memory of the AmaXhosa nation. In an attempt to understand the position of these productions within the NAF the South African cultural context as well as the NAF is examined. The post-apartheid, post-rainbow nation, South African cultural context is discussed and how the NAF could contribute towards creating a more unified South African identity. Incorporated and inscribed memory categories are related to how one could determine authenticity in traditional indigenous productions. A cautionary note on incorporated memory is linked to efficacy, while a loss of incorporated memory within the AmaXhosa society may result in ritual acts being orientated towards entertainment. If the private culture is consistently displayed in the public realm then it is inevitable that the ways in which the AmaXhosa recollect their history will be altered. The contribution of the transitional spaces of theatres and proscenium arch stages to the choreography and incorporated memory of the performers relates to the collective recollection of the AmaXhosa. Bearing this in mind, this thesis suggests that the NAF is playing a dual role in the evolution of the AmaXhosa. It is both positively contributing to the economic upliftment of a sector of the population and exposing people to this rich and multilayered culture. However, it is also impacting the efficacy of the private culture and fracturing the traditional knowledge of the AmaXhosa by assisting in the inscription of their performance forms.
This thesis consists of three parts (1 pdf document and two video mp4 files)

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Weisser, Stéphanie. "Etude ethnomusicologique du bagana, lyre d'Ethiopie." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211062.

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Cette thèse décrit et analyse les caractéristiques ethnologiques, musicales et acoustiques de la lyre bagana des Amhara d’Ethiopie. L’étude des données ethnologiques montre que le bagana incarne de nombreuses valeurs de la société traditionnelle amhara. Instrument considéré comme un don de Dieu et qui fut joué par des rois, le bagana est sacré. C’est un instrument intime, dont le jeu (toujours en solo ou accompagné seulement de la voix) est considéré comme un acte de prière ou une méditation à caractère religieux. Le musicien ne se donne pas à voir, ni par une dimension spectaculaire de sa performance, ni par une dimension phatique.

L’analyse des accords utilisés dans le répertoire du bagana montre que cet instrument est essentiellement accordé selon deux échelles modales pentatoniques, tezeta et anchihoye. L’organisation temporelle des chants de bagana est fondée sur des pulsations discrètes très rapides. La pulsation apparente se compose d’un multiple de cette pulsation discrète qui change en fonction du motif joué, ce qui crée une sensation de rythme libre ou de rubato. Les chants de bagana sont fondés au niveau mélodique sur des unités qui se composent de paires de notes.

L’analyse musicale du répertoire du bagana montre que celui-ci est fondé sur la répétition variée d’un ostinato musical assez court couplé à des paroles qui changent sans se répéter (à l’exception du refrain) selon les lois de la poésie amharique orale traditionnelle. Les procédés de variations mis en œuvre sont en général assez subtils car ils doivent préserver la sensation de répétition tout en apportant des éléments nouveaux.

L’étude des propriétés acoustiques du bagana permet de déterminer que celle-ci produit des sons très graves (jusqu’au sol 1). Le dispositif chevalet large-obstacles modifie tous les paramètres du son. L’analyse de la facture traditionnelle montre que l’instrument est conçu pour produire un son grésillant, long et intense sans avoir recours à une caisse de résonance volumineuse.

Le bagana est un instrument puissant, qui permet l’établissement d’une relation directe avec des entités surnaturelles via une transe légère. La voix et l’instrument sont dans un rapport de fusion et de renforcement mutuel. Les modes phonatoires utilisés sont « breathy » et « harsh ». La présence de la voix agit comme un guide perceptif, qui intervertit le rapport fond-forme dans la perception de l’instrument.

Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
info:eu-repo/semantics/nonPublished

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Wanyama, Mellitus Nyongesa. "Form and content of African music a case study of Bukusu circumcision music /." 2005. http://upetd.up.ac.za/thesis/available/etd-10182006-105355/.

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Nombembe, Caciswa. "Music-making of the Xhosa diasporic community: a focus on the Umguyo tradition in Zimbabwe." Thesis, 2014.

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Thesis(M.Mus.)--University of the Witwatersrand, Faculty of Humanities, Wits School of Music, 2013.
Music-Making of the Xhosa Diasporic Community: A Focus on the Umguyo Tradition in Zimbabwe This dissertation is an ethnographic study that focuses on the music of one of the Xhosa ethnic groups, the Mfengu who are settled in Zimbabwe. Taking into consideration that the bulk of the Xhosa ethnic group is situated in South Africa, predominantly in the Eastern Cape Province, I consider the small group of Xhosas in Zimbabwe as a diasporic community. While much has been written on the music of South African Xhosas, ethnomusicological scholars have paid insufficient attention to this group. When this group left the homeland, South Africa, it did not leave its musical traditions behind. One such tradition is the umguyo, the boys’ circumcision ceremony. My major intention therefore was to find out how this diasporic group makes music for the umguyo tradition. By closely analysing the lyrics of the umguyo musical repertoire, I discovered that the Xhosas in Zimbabwe archived their history in the song lyrics. Even though the majority of creators of this music have lived and departed, the constant performance and general continuity of this musical tradition assures both the present and future generations of a firmly established source for their identity. Looking at the lyrics once more, I found out that the Zimbabwean Xhosa music-making reflects on gender issues. I state that while Zimbabwean Xhosa men enjoy their patriarchal benefits, through music, women are socially taught to conform to stereotypical gender roles in their society. Thus, Zimbabwean Xhosa women, through their song performance, declare themselves as commodities for Xhosa patriarchy. In addition, this enquiry demonstrates how this diaspora community has deviated from the common way most diaspora communities make music. I mainly attribute this divergence to the ‘dominant/subject’ or ‘master/subordinate’ relationship that existed during the colonial period.

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Chamisa, Vimbai. "Commodified versions of Shona indigenous music: (re)construction tradition in Zimbabwean popular music." Thesis, 2014. http://hdl.handle.net/10539/15750.

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This thesis examines Shona commodified songs in order to develop a set of criteria for critically determining whether a Zimbabwean popular song has appropriated a Shona traditional song and whether this enables the song to be categorised as “commodified Shona traditional music”. The study identifies and analyses Zimbabwean popular songs by selected musicians. It identifies strategies and patterns adopted by the musicians to reconstruct Shona traditional sources. The study also questions why the musicians draw from the indigenous sources in certain ways and how the commodified songs are meaningful to them and Shona community members in general. The analysis shows that there are certain cultural values associated with each of the distinct Shona musical genres namely mbira, ngoma and jiti. These determine how the songs are adapted. Mbira music is believed to be the product of ancestors and therefore all the popular songs that reproduce mbira traditional sources must retain “standard basic” structural elements. The melorhythmic patterns associated with ngoma traditional sources are usually maintained in popular music. While text constantly changes, traditional themes are usually continued. However, the perception and understanding of cultural values usually differ from one popular musician to another depending on varying personal backgrounds and compositional purposes. Generally, there are four strategies employed in the adaptation of Shona traditional music. These are imitation, sampling, combining two or more distinct indigenous styles and abstract adaptation. The inclusion and exclusion of Shona indigenous elements in popular music performance play an important role in the reconstruction and negotiation of cultural heritage and identity for contemporary musicians and audiences.

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Counsel, Graeme. "Mande popular music and cultural policies in West Africa." 2006. http://eprints.infodiv.unimelb.edu.au/archive/00002527/01/PhD_thesis.pdf.

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Lebaka, M. E. K. (Morakeng Edward Kenneth). "The ritual use of music in indigenous African religion : a Pedi perspective." Diss., 2001. http://hdl.handle.net/2263/22869.

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Madalane, Ignatia Cynthia. "Ximatsatsa: exploring genre in contemporary Tsonga popular music." Thesis, 2012. http://hdl.handle.net/10539/11543.

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M.A., Faculty of Humanities, University of the Witwatersrand, 2011
While much has been written on black South African popular music (see, for example, Anderson, 1981; Coplan, 1985; Erlmann, 1991; Meintjes, 2003; Allen, 2004; Ansell, 2004; Muller, 2008), little has been written on Tsonga popular music. This dissertation interrogates ‘Tsonga music’, a category for naming Tsonga popular music used by many including the South African Music Awards (SAMAs); one of the few SAMA categories (others include Afrikaans, Venda and Pedi music categories) to be named by ethnicity. I question why the music is labeled the way it is and how these genre labels, which participate in global genre histories and local ethnic histories, interact with the Tsonga music category. In sum, this study explores what Louise Meintjes calls ‘genrefication’ (2003: 19) in popular Tsonga music and the meaning this has for its practitioners in a ‘glocalized’ music market (Robertson, cited in Steger, 2003). In chapter one I trace the origins of Tsonga music as it is known today. The chapter focuses on General MD Shirinda, considered the father of Tsonga music. I write about aspects of his life and the role he played in the development of contemporary Tsonga music. Chapter two pays close attention of one of the Tsonga music subgenres, ‘Tsonga traditional’ or neo-traditional music. The chapter interrogates the meaning of the Tsonga traditional label for its practitioners. Here I question the use of terms such as ‘Tsonga’ and ‘traditional’ for labeling Tsonga music. I end the chapter by discussing some characteristics of this subgenre. The third chapter follows the narrative of ‘Tsonga disco’ as told by my informants. Through the life stories of the musicians who have played major roles in the development of this subgenre, I explore how socio-political circumstances influenced the labeling of the subgenre. The chapter gives attention to the contribution to the subgenre by Paul Ndlovu, Peta Teanet, Joe Shirimani and Penny Penny. I end the chapter with a description of a live performance of Tsonga disco. Ethnicity is a recurring theme throughout the study. However, it is in chapter four that explicit attention is given to this identity marker. The chapter explores the role of ethnicity in shaping Tsonga music and how Tsonga musicians construct and affirm their ethnic and other identities in their music. Finally, I discuss the relationship between Tsonga music and the global music market.

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Olsen, Kathryn. "Politics, production and process : discourses on tradition in contemporary maskanda." Thesis, 2000. http://hdl.handle.net/10413/5156.

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Xulu, Musa Khulekani. "The re-emergence of Amahubo song styles and ideas in some modern Zulu musical styles." Thesis, 1992. http://hdl.handle.net/10413/9503.

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Amahubo songs are at the centre of the traditional Zulu cultural, religious and political lives. Their age is often associated with the very "beginning" of things, when the very first Zulu people emerged from the bed of reeds. As musical items amahubo tend to be easily associated with the old, pre-colonial era when Zulus were in charge of their lives and their destinies. The performance contexts of amahubo songs are the wedding, the funeral of a King, Chief, induna, umnurnzane, war and other commemorative ceremonies. Amahubo are also called ceremonial music because of their association with the ceremonial. Ritual and symbolism dominate amahubo performance contexts, amahubo themselves being symbols that stand for other ideas. It is noteworthy that despite missionary and colonial propaganda against traditional Zulu music and culture, amahubo continue to survive and are still performed at clan, regional and Zulu 'national' levels. In addition, there has emerged new syncretic styles which demonstrate the fusion of Zulu and Western (hymnal) musical ideas. From time to time the new musical styles emphasize a Zulu identity which makes them to be mostly symbolically associated with or related to amahubo songs. Today, amahubo and seven modern Zulu musical style can easily express a broad statement of the Zulu ethnic entity of ,some seven to eight million individuals. All these musical styles, when claimed by Zulus draw "imaginary borders" between Zulus and non-Zulus and get referred to as Zulu (ethnic or 'national') music. such references, however, are situational. The period 1988 - 1992 in which research was conducted culminating in this thesis has been marked by Zulu ethnic resurgence characterized by the performance of amahubo songs and other modern styles of religious, choral, wedding, mbhaganga, maskanda and isicathamiya, all of which, through manipulation of text and musical sounds, get situationally claimed for the Zulu ethnic (national) identity.
Thesis (Ph.D.)-University of Natal, Durban, 1992.

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Swarts, Karen. "'n Studie van die huidige musikale gebruike onder die jeug van die !Xun en Kwe San." Thesis, 2012. http://hdl.handle.net/10019.1/20861.

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Thesis (M. Mus.)--University of Stellenbosch, 2008.
ENGLISH ABSTRACT: This study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.
AFRIKAANSE OPSOMMING: Hierdie studie is onderneem om die huidige musikale gebruike onder die jeug van die !Xun en Khwe San in Suid-Afrika te bestudeer. Dit het deel gevorm van die NNS projek, Mother’s Milk Mother’s Muse, wat die musiek van inheemse kulture wou bewaar. Dit is gedoen deur die musiek van die kinders op te neem tydens mini-feeste. Hierdeur is probeer om ‘n hernude belangstelling in die tradisionele musiekkultuur by die jeug te kweek. Die skrywer is in 2003 as projekkoördineerder vir die San by Platfontein, Kimberley aangestel binne die raamwerk van die Mother’s Milk Mother’s Muse projek. Dié projek het derhalwe die basis gevorm vir hierdie studie van die huidige stand van die musikale gebruike onder die jeug van die !Xun en Khwe San. Navorsing het by wyse van ‘n literatuurstudie en deelnemende aksienavorsing geskied. Algemene inligting van hierdie navorsingsmetodes word in die tweede en derde hoofstukke weergegee. Die wyses waarop die skrywer die navorsingsmetodes in haar eie studie toegepas het, word in die laaste hoofstuk bespreek. Onderwysers van die !Xunkhwesa skool op Platfontein is genader om hul hulp te verleen met die projek. Die onderwysers, wat elkeen die Kuns en Kultuurleerarea aan verskillende grade aanbied, moes vooraf sorg dat inligting van verskillende musiekitems op vorms ingevul moes word. In die tyd voor die mini-fees is die kinders dus uitgestuur om tradisionele liedere te gaan versamel en inligting daarvan in die klas te deel. Hierdie items is tydens ‘n fees in September 2005 opgeneem. Beskrywings en analises van die liedere word in hoofstuk drie weergegee. Ooreenkomste met die kenmerke van tradisionele San musiek asook met algemene kenmerke in Afrikamusiek word ook bespreek. Die gevolgtrekkings en voorstelle word in die laaste hoofstuk bespreek.

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Onyeji, Christian. "The study of Abigbo choral-dance music and its application in the composition of Abigbo for modern symphony orchestra." Thesis, 2002. http://hdl.handle.net/2263/29002.

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This thesis is divided into two main parts. Part one is the presentation of the ethnomusicological research study on Abigbo choral dance music, and indigenous music type found in the Mbaise area of Ibgo land in Nigeria. This part is made up of three chapters. Chapter one present the research out line for this work, which contains the Background of the study, personal motivation for the study, need for the study, methodology and value of the study. Chapter two presents a study of Abigbo music and the musicians. In this chapter, the researcher discussed the socio-cultural and creative milieu of Abigbo musicians, the creative performance process, the theoretical content of Abigbo music, and the artistic criticism as well as social aesthetics normative in Abigbo music appreciation. Chapter three of the work discussed transcription and analyses of traditional Ibgo music. Some problems of transcription and analyses in Ibgo music are argued from the perspectives of other writers and the researcher’s experience. The transcription and analysis techniques are then applied to selection Abigbo music repertory. This part of the thesis is, therefore, an Ethnomusicological study of Abigbo music and musicians in which identifiable musical elements, compositional principles and the stylistic forte of Abigbo choral-dance music are discussed. The research-study enables the researcher to identify seminal compositional materials for the modern symphony orchestra composition deriving from the creative principles of Abigbo music. Part two of this work is, essentially, an original creative work for the modern symphony orchestra applying the musical elements, compositional principles and style of Abigbo choral-dance music. This part is in three chapters: four, five and six. Chapter four is the composition of “Abigbo for Modern Symphony Orchestra”. It is a three movement orchestral work in contrasting tempi, in which the second movement introduces a male chorus with the orchestra. Chapter five is a detailed analysis of the work and its compositional procedure. Chapter six presents the conclusions and projections emanating from the study. Part II then presents a perspective in the creative continuum of African music informed by Abigbo choral-dance music. It is a study of Abigbo choral-dance music of the Mbaise people in Igbo land of Nigeria and the application of its elements, compositional principles and style in the composition of modern art music for a modern symphony orchestra.
Thesis (DMus)--University of Pretoria, 2006.
Music
DMus
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Makhubele, Patience. "Mapaluxele ya vavasati eka tinsimu tin'wana ta Xitsonga." Thesis, 2005. http://hdl.handle.net/10386/2300.

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Njenga, Maureen Charity Muthoni. "Mugithi perfomance as a form of social cohesion among the Agikuyu of Kenya." Thesis, 2010. http://hdl.handle.net/10413/9502.

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This research investigated what the musical characteristics of mwomboko music were, what its social characteristics were in terms of performers, listening, venues and class relations to what extent this music functioned as a means of engendering feelings of personal empowerment under conditions of social exclusion and how this music functioned as a catalyst for social cohesion. This study is necessary for it may contribute to the further study of the mugithi one-man guitar performance. I worked with the theoretical approach that music can create or maintain social cohesion. I also looked a how it can contribute to group solidarity and so increase the effectiveness of collective action. I am worked with the theory of social cohesion through music which works with the idea that music can be used as an avenue to create a sense of belonging to a group or community. Through the affirmation of the society's identity music also ended up affirming the individual 's identity. While this study specifically focused on mwomboko music within mugithi performance style there were factors that had and continued to influence this type of music's performance and growth. This study shall try to investigate ways in which the development in Kenya influenced music's role in social identity, why music is used as a channel for social cohesion and the issues that bring up ethnic identity within multicultural urban setting.
Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2010.

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Khosa, Hanyani Aubrey. "An investigation into Ku Thawuza music and dance as an indigenous art form." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001487.

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M. Tech. Dance
Knowledge of cultural dances and songs is one of the key aspects necessary for a comprehensive understanding of the customs of any cultural group. This includes indigenous cultural practice of a particular cultural group, which in themselves have a plethora of different performance practices and categories that are extensive and unique in their own right. The indigenous music and dance of Vatsonga is no exception. It is against this background that this study was undertaken. This study seeks to collect, document, promote and preserve the Xitsonga indigenous art form, namely, Ku Thawuza music and dance, by means of transcribing and investigating it.

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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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Smith, Arlette Miller. "Speaking the song, spreading the word, lifting the people : the reimagination of community through vocal music activism /." 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3173641.

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Dissertations / Theses on the topic 'Music Ibibio (African people)'

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