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1
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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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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Mufute, Josphat. "The training of the non-specialist music teacher in Zimbabwe : a case study." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/565.
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The focus of this study thus was to establish if the training of teachers at a particular teachers’ training college in Zimbabwe is equipping students as future teachers with the required competences to realise the aims and objectives of the Zimbabwe Primary Music Syllabus. This study follows on the above-mentioned initial small-scale investigation conducted in 2002, which revealed that teachers lacked the required competences to implement this particular syllabus effectively (Mufute, 2002:16).
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Nota, Charles. "In-service training models for music educators in Zimbabwe / Charles Nota." Thesis, North-West University, 2010. http://hdl.handle.net/10394/4099.
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This dissertation is the documentation of an investigation aimed at identifying a model(s) that meets the needs of music educators in Zimbabwe. Although the government of Zimbabwe stipulates that music should be part of the education curriculum in the country, it has become evident that the majority of schools do not comply with this requirement.
The failure to teach music effectively in schools has been attributed to a variety of factors. Among them are the non-availability of a clear policy on cultural arts education and the fact that music is not examined at the end of a [earning phase such as Grade 7. However, this dissertation argues that the identified problems can be addressed through a model of professional development in the form of an in-service training programme.
In-service training models such as the individually-guided, collaborative problem-solving and action research models were identified. These models were interrogated in an effort to establish which one has the potential to address most effectively the anticipated pedagogical content knowledge for music educators in Zimbabwe.
Among several models selected for discussion in this dissertation, the training model has been identified as the most appropriate one. It is comprised of five components, namely; theory, demonstration, practise, feedback and coaching. Competence training for teachers in a skills-based subject like music is believed to be incomplete. However, many educators view the training model as a cycle that rolls towards the attainment of specific goals, hence continuous and reflective interaction promotes effective skill acquisition.
Relevant information was gathered through document analysis, interviews and focus group discussions. The findings revealed that the majority of music educators in Zimbabwe have limited knowledge of both music content and pedagogy. In addition, the analysis of the data also revealed that all
educators possess a professional qualification of some kind, but there is a lack of specialisation in Music.
Apparently, lack of human and physical resources in Zimbabwe has also been indicated as a factor impacting on the delivery of music education in the country.
The failure to teach music effectively in schools has been attributed to a variety of factors. Among them are the non-availability of a clear policy on cultural arts education and the fact that music is not examined at the end of a [earning phase such as Grade 7. However, this dissertation argues that the identified problems can be addressed through a model of professional development in the form of an in-service training programme.
In-service training models such as the individually-guided, collaborative problem-solving and action research models were identified. These models were interrogated in an effort to establish which one has the potential to address most effectively the anticipated pedagogical content knowledge for music educators in Zimbabwe.
Among several models selected for discussion in this dissertation, the training model has been identified as the most appropriate one. It is comprised of five components, namely; theory, demonstration, practise, feedback and coaching. Competence training for teachers in a skills-based subject like music is believed to be incomplete. However, many educators view the training model as a cycle that rolls towards the attainment of specific goals, hence continuous and reflective interaction promotes effective skill acquisition.
Relevant information was gathered through document analysis, interviews and focus group discussions. The findings revealed that the majority of music educators in Zimbabwe have limited knowledge of both music content and pedagogy. In addition, the analysis of the data also revealed that all
educators possess a professional qualification of some kind, but there is a lack of specialisation in Music.
Apparently, lack of human and physical resources in Zimbabwe has also been indicated as a factor impacting on the delivery of music education in the country.Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
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Nota, Charles. "Introducing marimba music as part of the school curriculum in Zimbabwe." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65458.
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This thesis is the documentation of an investigation to explore the applicability and use of indigenous African instruments in the development of primary school music curriculum for Zimbabwe. Although music is regarded as one of the compulsory subjects of the Zimbabwean primary school curriculum, it is noted with concern that western musical arts ideas are prominent in the school syllabus hence, they underline the whole essence of music teaching in the post-independence Zimbabwean education system. This is done at the expense of indigenous African musical arts practices that learners can easily identify with in their respective local communities. The purpose of my study therefore, is to determine critical elements of a curriculum development framework for facilitating the inclusion of indigenous African instrumental performance practices as substantive music resource stuff in the westernised Zimbabwean primary school music curriculum provisions. Zimbabwe has a variety of indigenous African instruments that include mbira, mazambi, magagada, chipendani and chigufe. For the purpose of carrying out this research, three indigenous African instruments are identified as instruments of focus. These are marimba (African xylophone), ngoma (African drum) and hosho (African percussion shakers). Thus, the term indigenous African instruments is consistently used collectively to mean the identified instruments. The study also samples songs from a selected Ndau cultural arts functions such as zvipunha and zvimworoni that could be utilised as education activities for classroom music teaching and learning initiatives in Zimbabwe. The idea of including culture-inclined resource materials for music teaching in the westernised post-independence Zimbabwean primary school music education initiatives implies curriculum change and innovation. Thus, curriculum change in Zimbabwe could be viewed as a reputable way to fulfil complete socio-cultural, educational and political sovereignty towards diluting the impact of colonial repression and neo-colonialism in Zimbabwe. It is notable, however that, colonial repression in Africa has caused and is still causing a permanent dislocation between indigenous black Africans and their cultural arts practices and heritages. My study doesn’t aim to achieve piece-meal changes in the primary school curriculum. Neither does it aim to suggest a complete overhaul of the current westernised primary school music curriculum. With this study, I aim to achieve a reasonable inclusivity and fusion of divergent cultural arts opinions towards musical hybridism in the Zimbabwean musical arts education milieu. This, I believe, shall help to establish an alliance of traditional African and western arts elements to attract both domestic and international appreciation of contemporary musical arts education initiatives in the post-independence Zimbabwean society. Relevant information has been gathered through documentary analysis, interviews, participant observation and focussed discussions. The findings reveal that the majority of primary school teachers and learners need considerable cultural arts rehabilitation because colonial repression had conditioned their perceptions to see no sensible value in indigenous African instrumental performance practices as part of the school education curriculum. The study also reveals that even the training of primary school music educators in Zimbabwe is grossly inadequate. Hence, the majority of these primary school teachers are pedagogically restricted to facilitate the teaching of skills-based subjects like music at any level of the Zimbabwean education system. Therefore, it is sensible to conclude that generalist primary school teachers are unreliable education practitioners who need further education and training in order to acquire relevant competences to teach music effectively in schools. Finally, lack of human and physical resources such as music instruments and textbooks has also been viewed as another impediment factor crippling teacher performance in the teaching of music in the majority of primary schools in Zimbabwe.Thesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
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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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Shragg, Lior D. "Belonging: The Music and Lives of Black Zimbabwean Jews." Ohio University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1585649059631573.
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Åkemark, Elisabet. "Music in Butterfly Burning." Thesis, Växjö universitet, Institutionen för humaniora, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-8356.
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This thesis discusses the role of music and musical sounds in Butterfly Burning by Yvonne Vera. It analyses the way that Vera has used music interlinked with the action of the novel. This thesis analyses a few areas where music is represented and is important such as: music as an element of healing/forgiveness; music as an element of hope; music as an element of despair; music as an element of working life and the absence of music. This thesis also briefly discusses who the narrator of the novel is and Vera’s writing technique that incorporates images with hypothetical sounds. The conclusion shows that music and musical sounds are important to the novel. It also shows that the music in Butterfly Burning can be compared to the music in a film. Vera has managed to combine the story of the novel and the description of music so that it becomes one inseparable unit.
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Kabwato, Chris. "The emergence of youth protest music and arts as alternative media in Zimbabwe: a Gramscian analysis." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/51228.
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The primary goal of the research is to examine the reasons for the emergence of - hip-hop-based youth protest music and satirical video comedy in Zimbabwe in a context where democratic and media practice has been restricted. The study examines the strategies and platforms that the young urban-based, musicians and cultural activists employ as they contest the meta-narrative of political nationalists who control the public mass media. The study recognises culture as a site of struggle and seeks to tease out the meaning of specific art forms (‘conscious’ hip-hop music and faux-news satire) in this very specific period of Zimbabwe’s history. The study proposes that the rise of these new forms of hip-hop based protest music, poetry and satirical comedy indicate how through the production and circulation of popular culture, ordinary Africans are able to debate pertinent issues that are marginalised by the official media channels. The study thus sees these artists as organic intellectuals who use alternative media to engage with different publics as they seek to counter hegemonic discourses.
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Lindroth, James Lindroth. "Zimbabwean Mbira Music and Modern Spirituality in the Western United States." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524241138090042.
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Matiure, Sheasby. "Performing Zimbabwean music in North America an ethnography of mbira and Marimba performance practice in the United States /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3344589.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.Title from PDF t.p. (viewed on Oct. 5, 2009). Source: Dissertation Abstracts International, Volume: 70-02, Section: A, page: 0649. Adviser: Ruth M. Stone.
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De, Lowerntal Elizabeth. "Music teacher education in postindependence Zimbabwe." Thesis, 1995. http://hdl.handle.net/10413/8871.
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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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Phibion, Otukile Sindiso. "Bakalanga music and dance in Botswana and Zimbabwe." Thesis, 2003. http://hdl.handle.net/2263/26707.
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Botswana, formerly known as the Bechuanaland Protectorate, is a country with diverse tribal and religious cultures. Bakalanga are one of the tribes found in Botswana and also in Westrn Zimbabwe. The Western part of the Zimbabwean Bukalanga region was included in the then Bechuanaland Protectorate when its border with Zimbabwe was fixed. To date, Botswana's traditional music has been passed from generation to generation, entirely orally. The main contribution of this study is collecting, documenting and preserving Bakalanga traditional music-making. After abolishing official usage of the Ikalanga language, at independence in 1966, in the early 1990's the Botswana government re-discovered that a nation without culture is a lost nation. Funds were then set aside to be used annually for the development of culture. In using these funds to revive their culture and traditional music, Bakalanga of North Eastern Botswana declared 21 May to be their annual cultural day. Photographs and video footage of these annual cultural festivals were taken by the researcher to help illustrate certain aspects of Ikalanga music and dance in this thesis. Several factors influencing Ikalanga traditional music were taken into consideration: the historical background of Bakalanga, their relationship with other tribes such as the Amandebele, their education, their language in relation to other languages and the missionary influence. Ikalanga traditional music instruments are described. The Mwali religion, which forms the basis of wosana music, linking Bakalanga of Botswana and those of Zimbabwe through the Njelele sacred place joint annual ceremonies, is discussed at length. Different Ikalanga traditional music types are addressed as follows: • Rain Making/Praying music; Wosana and Mayile • Traditional Music for Happy Occasions and Entertainment; Ndazula, Mukomoto, Woso, Iperu, Tshikitsha, Bhoro and Ncuzu./ Maskhukhu • Traditional Music for Healing Purposes; Mazenge (Shumba), Sangoma and Mantshomane. All the above music types are practised within Bukalanga communities publicly, with the exception of mazenge, which is regarded as sacred and private. Bhoro is also extinct in Zimbabwe. The notation of Ikalanga traditional basic musical themes is provided, except for mazenge and ncuzu. which were not found anywhere during this research.Thesis (DMus)--University of Pretoria, 2006.
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Chirombe, James. "The interface of music and politics : exposition of Tongai Moyo and Hosiah Chipanga's post 2000 music." Thesis, 2019. http://hdl.handle.net/10500/25540.
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The research is an Afrocentric engagement that analyses selected songs by Tongai Moyo and Hosiah Chipanga in post-independence Zimbabwe. The study is informed by Afrocentricity, which provides the theoretical anchorage to the exposition and elucidation of the pursuit for independence, liberation and freedom of Zimbabweans in the post-independence era. The study analyses selected sungura songs composed and sung by Hosiah Chipanga and Tongai Moyo in post-2000 era. The study indicates that post-independence Zimbabwe of 2000 to
2010 reflects a decade of crisis. The exposition unfolds through a critical exegesis of selected songs by these sungura artists. The two sungura musicians are among the leading musical voices in Zimbabwe. The study is largely qualitative in nature and used interviews and questionnaires to solicit information from research participants. Respondents comprise musicians, music producers and academics in the Zimbabwe. The study stimulates more interest and research in sungura music as well as illuminating the significance of their messages to ongoing debates on the Zimbabwean crisis/crises thereby establishing the relationship between music and politics. This position is made against the backdrop of their commitment and courageous efforts by such protest musicians to comment on ‘big’ political and economic issues seriously affecting the performance of Zimbabwean economy. The study also establishes that cronyism, patronage and corruption have become major industries of the day in Africa. Through fighting for the voiceless masses, the study argues that Zimbabwe is faced by the crisis of governance and the nation has taken the medals of humiliating its own people. Pertaining to the leadership crisis in Zimbabwe, the study also shows that musicians who include Hosiah Chipanga and Tongai Moyo insinuate that the deep seated Zimbabwean challenges are a manifestation of a nation that is parentless. In their protest music, the artists reiterate that poverty, hunger, diseases and other forms of sufferings that the country encountered and continue to face are a sign of a country that is an orphan implying the dearth of people centred leadership. Additionally, findings from the study show that the land issue is one of the commonly identified factors that are ascribed to partial independence in Zimbabwe translating into crisis. The land question invited attention from Hosiah Chipanga as reflected in his post-2000 music where he suggests that Zimbabweans were to a larger extent betrayed by ZANU (PF) leadership.Linguistics and Modern Languages
D. Phil. (Languages, Linguistics and Literature)
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Gwekwerere, Gadziro. "The evolution of Zimbabwean gospel music 1980- 2007." Thesis, 2010. http://hdl.handle.net/2263/24500.
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This thesis explores, traces, analyses and discusses the development and evolution of Zimbabwean gospel music from 1980 up to 2007. Gospel music in this study defines urban black music culture which is influenced by Christian religion as well as gender, foreign music cultures, indigenous music, the economic and political climate of the country. A general overview of gospel music in Zimbabwe is given including the history of Zimbabwean gospel music and the gospel music industry. Relevant literature on gospel music is reviewed. Selected Zimbabwean gospel musicians and their music are discussed. Methods of collecting data are discussed and their strengths and weaknesses are outlined. Mainly the survey method is used and questionnaires, observation and document analysis are used as instruments of data collection. Gender issues are discussed in relation to Zimbabwean gospel music and the impact of gender on music is also noted. The effects of foreign and indigenous music on Zimbabwean gospel music are explored and analyzed through transcription and analysis of selected songs but it is not the researcher’s intention to go into deep musicological content in the analysis. Political and socio-economic influences on Zimbabwean gospel music are the main focus. The history of the socio- economic and political development of Zimbabwe during 1980- 2007 is explored in relation to gospel music. Until about the mid 1980s, the general atmosphere in the newly-independent state of Zimbabwe was characterized by liberation euphoria and great optimism for the future. Equally so, local gospel music during this period was largely celebrative and conformist as far as the political and socio-economic dispensation was concerned. Socio-economic hardships crept in as a result of the government’s implementation of neo-liberal economic reforms under the guidance of the World Bank and the International Monetary Fund (IMF) during the early 1990s. The ruling party soon found itself confronted by a number of gospel musicians criticizing its policies and malpractices. The lyrics of various gospel artistes (song texts) are used as evidence. This research is an addition to the study of gospel music and popular culture in Africa. It is also a multidisciplinary research, handling sociology, politics, religion and music by looking at music as an expression and reflection of a socio-economic situation. The research has offered a second level of development realizing the theoretical conceptualizations through the analysis of gospel music. The research results presented, interpreted and analyzed provide implications on the future success of Zimbabwean gospel music. Recommendations on the development of Zimbabwean gospel music are also given.Thesis (DMus)--University of Pretoria, 2010.
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Mudzanire, Benjamin. "An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe : a search for the contemporary leitmotifs." Thesis, 2016. http://hdl.handle.net/10500/22600.
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The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessment of the discourse of politics and socio-economic issues in popular music. For all the analysis, an Afrocentric eye view informs the thesis.
Being qualitative in perspective, the research mainly uses the hermeneutic research design as an operational framework for the interpretation of lyrical data. Hermeneutics, as a method of textual analysis, emphasizes the socio-cultural and historic influences on qualitative interpretation. Postcolonial Shona popular music is purposively sampled and critically studied using the hermeneutic method to tease out latent social and political nuances in lyrical data. Interviews are roped in as alternative opinions to validate hermeneutic data.
The research observes that the legislative environment in which Zimbabwean popular music is composed is, on paper, very conducive for the art but in practice severely restrictive. The constitution allows the artiste sufficient space to sing any subject but confessions by some critics alert on the incidences of some censored products. Even against that backdrop artistes have gone on to compose politically suggestive music. However, from the first decade of independence, the tendency for the artiste has been to flow with the meta-narrative or hegemonic discourses of the state, while in the later decades the artiste sounds critical of the nationalist government. Realising the power of music to articulate serious national issues; among other prescriptions, the study recommends that government creates a flexible and democratic legislation that allows for unbounded creativity and consumption of artistic products.African Languages
D. Litt. et Phil. (African Languages)
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Marongedze, Reggemore. "Interface of music and politica: versions of patriotic consciousness in Zimbabwean music, 1970-2015." Thesis, 2019. http://hdl.handle.net/10500/25566.
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Music is an inviolable imaginative litmus diagnosis on a constellation of ideational and conceptual contestations which elicit mutually exclusive and inclusive versions of patriotic consciousness in the Zimbabwean polity. The study specifically analyses the renditions of patriotic consciousness as expressed through selected musical compositions in Shona, Ndebele and English conceptualised as Zimbabwe-centred musical texts. It unfurls in the context of the interplay between music and politics in which music is seen as intricately interwoven with national politics causing shifts of realities. The research approaches and conceptualises patriotic consciousness as a heuristic construct and a measure of development that constitutes an instrument for ideological and conceptual contestations in specific political argumentative settings within the period 1970 to 2015. It deploys the critical tenets of Afrocentricity and the Socio-semantic theory of music to advance the contention that patriotic consciousness as a concept for political analysis enables the criticism and explanation of existing rival sentiments, different wants, competing needs and opposing interests in the Zimbabwean polity. Musicians who contribute to Zimbabwe-centred musical texts also (un)consciously become part of the ideological and conceptual battlefield for political legitimacy. The study pays attention to the lyrics’ content, the historical epoch from which the lyrics respond to and ideological influences embedded in the lyrics, which potentially trigger ideational and conceptual clashes. It engages the song lyrics of musicians, whose music constitute Zimbabwe-centred musical texts, as a mode of art that (in)directly conveys political ideas, identities and interests on the notion of love and object of allegiance in national politics thereby engaging in ideational and conceptual contestations.Linguistics and Modern Languages
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Sibanda, Silindiwe. ""You don't get to sing a song when you have nothing to say" : Oliver Mtukudzi's music as a vehicle for socio-political commentary." Thesis, 2004. https://hdl.handle.net/10539/26549.
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A research report submitted to the Faculty of Humanities, University of the
Witwatersrand, Johannesburg in partial fulfilment of the requirements for the degree
of Masters of Arts.This paper analyses the music of Oliver Mtukudzi in order to ascertain how he uses his music as a means of addressing the socio-political issues in Zimbabwe. Mtukudzi's music has, for decades now, been thought to reflect and voice the realities of life in Zimbabwe. Particular emphasis has been placed on the lyrics because they contain the messages of the songs. An evaluation of the music and its addressivity in conjunction with the lyrics is also examined to determine how Mtukudzi uses them both as ways of enhancing the message in the songs. Using the theory of addressivity the paper looks at the nature of this address within the songs chosen for evaluation within the paper. Similarly the virtual audience, as distinguishable from real audiences, of Mtukudzi' s address is taken cognisance of in order to, not only verify the addressivity already discussed, but also to assess how extensive the audience's influence is in determining the songs that the artist writes. Using songs from recordings from the last five years I look specifically at how he deals with themes about women, children, HIV/AIDS and politics in his music and how this is used to address and reflect the social realities of Zimbabwe.
Andrew Chakane 2019
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Maguraushe, Wonder. "Musicking at home on the wood that sings : contemporary marimba performance practices in Zimbabwe." Thesis, 2017. http://hdl.handle.net/10500/25339.
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Text in English, abstracts in English and ZuluThis thesis explores the current state of marimba music performance practice in Zimbabwe. I begin by presenting a historical perspective of the marimba, and then discuss how the Zimbabwe marimba tradition came into being at Kwanongoma College of African Music in Bulawayo. The study continues to unveil how the relatively new marimba tradition has grown to popularity in its 55-year history in the country, with the phenomenal emergence of professional Zimbabwe marimba musicians. The thesis includes analyses of marimba musicians’ lived experiences, traditional and contemporary marimba music compositions, marimba music education programs and mentors, as well as the Zimbabwe marimba construction industry. Using ethnographic methods, the analysis in this qualitative study draws on an application of Christopher Small, Richard Schechner, and Pierre Bourdieu’s theoretical perspectives, amongst others. Results show that marimba music performance practice in Zimbabwe has been kept alive in various permutations, albeit in a harsh economic environment. Education, passion for marimba music, cultural tourism, and festivities are the main avenues where Zimbabwe marimba music performance practice has survived on the margins of Zimbabwe’s popular musical cultural traditions.
Le thesis ihlola isimo samanje somculo wemarimba kanye nokuqhutshwa kwawo eZimbabwe. Ngiqala ngokwethula imibono yezomlando ngemarimba, ebese ngixoxa ngokuthi ngabe usiko lwenkambiso yemarimba eZimbabwe lwaqhamuka kanjani eKwanongoma College of African Music eBulawayo. Ucwaningo luqhubeka luveze ukuthi umculo wemarimba omusha usheshe kangakanani ukukhula nokuba nedumela kumlando weminyaka engu 55 ezweni, kanti futhi nokwenza ukuthi abaculi bemarimba eZimbambwe basebenze ngesiprofeshini. Le thesis ibandakanya ukuhlaziya izipiliyoni zabaculi bemarimba, usiko kanye nokuqanjwa komculo wemarimba, izinhlelo zemfundo yomculo wemarimba kanye nabaqeqeshi abafundisa abasha emculweni, kanye nokwakhiwa kwemboni yomculo wemarimba eZimbabwe. Ukusebenzisa izindlela zesayense yokuchaza abantu eyaziwa ngokuthi yi-ethnography, uhlaziyo kulolu cwaningo olubheka kanzulu, lufunde nokuchaphuna kwimibono yochwepheshe yethiyori yabantu abafana no-Christopher Small, uRichard Schechner kanye no-Pierre Bourdieu phakathi kwabanye. Imiphumela ikhombisa ukuthi ukwenziwa komculo wemarimba eZimbabwe wenziwe ukuthi uqhubeke ngokusebenzisa inqubo yokuhlela izinto ngokuhambelana noma inqubo ye-permutations, kodwa ngaphansi kwesimo esinzima kwezomnotho. Imfundo, ugqozi lomculo wemarimba, inqubo yezovakasho lokufunda ngamasiko kanye nemicimbi ngenye yezindlela lapho khona umculo wemarimba eZimbabwe oboniswa khona nokwaze ukuqhubeka ngayo, nangendlela esetshenzisiwe ukwenza ukuthi umculo uqhubeke nokuba nedumela ngisho nangaphansi kwesimo esinzima eZimbabwe.
Art History, Visual Arts and Musicology
D. Litt. et Phil. (Musicology)
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Bebhe, Sithulisiwe. "Monitoring as a teaching practice strategy in music at Joshua Mqabuko Polytechnic, Zimbabwe." Thesis, 2016. http://hdl.handle.net/11602/340.
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Dzvore, Andrew. "Music as life stories : an exploration of Leonard Karikoga Zhakata’s sungura lyrics on the socio-political context of Zimbabwe from 2000 to February 2009." Diss., 2018. http://hdl.handle.net/10500/24737.
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A content analysis of Leonard Karikoga Zhakata’s sungura music unpacks shared experiences of Zimbabweans during a decade of crises.Various musicians composed music pregnant with cultural meaning. These genres defied the ruling Zanu PF party‘s propaganda. The ZANU P.F. flagged enemy was imperialist history, whose characteristic was bankrupt in civil justice. Common sense ‘umunthu’ (‘Humaness)’ philosophy could have witnessed the ruling party stand by the people at the height of economic decline. This dissertation argued that the sungura genre became a formidable force. The music had dramatic effect of unifying citizens of different distinct cultural traditions, often which set Shona, Manyika, Korekore, Changana and Ndebele apart. ‘Mugove’ ‘(Reward) and ‘Hupenyu mutoro’ (Life is a burden) lyrics manifested thought processes, ideas and actions which projected popular unity against ruling elite hegemony. Zimbabweans’ collective cultural awareness that could have defined social experiences indirectly or directly motivated formations of oppositional political establishments. The Movement for Democratic Change (MDC) was the brainchild of political disillusionment chorused in “Hupenyu Mutoro’ (Life is a burden) and ‘Mugove’ (Reward) lyrics. The musical texts unravelled the hidden sin of gross graft by the powerful built on self aggrandisement at the expense of the vulnerable subalterns. The sungura genre manifested an art of aggressive entertainment and enjoyment yet passively and remotely awakening citizens to the obtaining dire economic hardships. The genre’s scholarly fabric and dynamics, cut deep into life sensibilities as exemplified by ‘Hupenyu Mutoro’. The deplorable life style experienced by the suffering majority epitomised by political repression and economic meltdown became catalyst for political participation and opportunities for plural voices.This dissertation argues that academic curricula harnesses the influential sungura genre in teaching a people’s story. Sungura music authenticates national historical versions that comfortably orbits around official realities of civil governance processes, what Fanon refers to as ‘a zone of occult instability (Fanon, 1963 p. 253). Unemployment, hyper-inflation, cholera out breaks, empty shelves in shops compounded with a ravaging parallel market prices became food for thought. Disllusionment nagged Zimbabweans below and above the poverty datum peg vis a viz the material power index of a handful citizens in the ruling party. Hence Zhakata’s ‘Hupenyu mutoro’ (Life is a burden) and ‘Mugove’ (Reward) became a classical and contested terrain that motivated the teaching and learning of Zimbabwean history.Communication
M.A. (Communication)
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Dhlamini, Nozizwe. "Music as a medium of protest : an analysis of selected Kalanga music." Thesis, 2017. http://hdl.handle.net/10500/23380.
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The study explores the theme of protest as encoded in selected Kalanga music. In particular, the study focuses on the analysis of songs sung by Kalanga musicians such as Chase Skuza, Ndux Junior and Batshele Brothers, Ndolwane Super Sounds and Tornado Heroes within the period 2000-2013.The selected period is generally considered to be a crisis period in Zimbabwe. Further, the study also relies on views from key respondents obtained through semi structured interviews and questionnaires. The research adopts the Critical Discourse Analysis (CDA) framework and the hegemony theory to help identify the discourses as encoded in the theme of protest in Kalanga music. The two frameworks are engaged because they challenge critical thinkers to move away from seeing language as immaterial to acknowledging and believing that words are meaningful in specific political, social and historical contexts. The study establishes that Kalanga music is protest art that speaks on behalf of the people by pointing out the injustices and malpractices that take place in society. The selected music demonstrates the battles that are ongoing that the musicians are protesting against. The study notes that protest music raises the consciousness of the citizens on the wayward behaviour of individuals and institutions. The protest themes identified include; corruption, poor governance and poor leadership, unfulfilled promises, lack of unity, repressive and oppressive laws, a skewed representation of the nation’s history, deployment of Shona teachers in Matabeleland, decrying moral decadence, protest against jealousy and envy and protest against xenophobia. Findings of the study also demonstrate that music goes beyond simply reflecting and describing situations but it also becomes an avenue through which discursive spaces are opened. The study also shows that Kalanga music provides alternative platforms for the articulation of matters generally considered taboo within Zimbabwean spaces, Kalanga music has a potential to contribute to national cohesion and national growth using its constructive criticism of the political, social and economic state of Zimbabwe. The study has clearly enunciated that protest music assists in the interrogation of a society’s moral compass and in turn question some convictions. Kalanga songs are not merely frivolous components of various sects of Zimbabwean culture, or passing sources of insignificant entertainment. Instead, they and their singers are critical contributors to the shaping of those eras, playing irreplaceable roles as they spur collective mindsets of protest across many social aggregates through their appeal to the desires, the morals, the lamentations, the angers and the passions of the Kalanga people.Linguistics and Modern Languages
Ph. D. (Languages, Linguistics and Literature)
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Chimbarange, Advice. "An analysis of gendered metaphors in selected Zimbabwean Shona songs." Thesis, 2019. http://hdl.handle.net/10500/26532.
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This qualitative study analyses gendered metaphors in selected Zimbabwean Shona songs. The study explores how musicians deploy gendered metaphors to propagate, reinforce or challenge gender views and positions held in the Zimbabwean contemporary society. The corpus of data comprised Shona popular songs released between 1988 and 2018 and down loaded from You-tube. The songs were transcribed, translated into English and metaphors identified and interpreted using a combination of the Pragglejaz Group (2007), Steen (2007) and Charteris-Black (2004) metaphor identification methods. Charteris-Black’s (2004) Critical Metaphor Analysis was adopted as the key theory and method of analysis. The analysis drew support from Lazar's (2007) Feminist Critical Discourse Analysis, Foucault (1980) and Butler's (1990) ideas on discourse and gender. The findings reveal that Zimbabwean musicians singing in Shona discursively use gendered metaphors to construct, reinforce or challenge views and positions on gender. While the metaphors describe and evaluate men and women positively and negatively for ideological purposes, the metaphors largely marginalise women more than men. The metaphors therefore, have the effect of legitimising and naturalising male dominance in the Zimbabwean society. However, the same musicians occasionally utilise metaphor discoursal power to resist, challenge and control the dominance. Metaphors become a conduit through which topical contemporary gender issues, norms and values, gender views and positions are highlighted and debated. Two contesting ideologies were noted: one ideology emphasised that women are inferior to men and men should tolerate them for their weaknesses and the second projected women as men’s equals and that men and women roles complement each other. It is the conclusion of this study that gendered metaphors in Shona song lyrics allow musicians to discursively and for ideological purposes reinforce, contest and negotiate various gender perspectives making metaphors a powerful tool for shaping views on gender. Therefore the research, recommends that stakeholders recognise and promote the critical role played by language on inculcating gender perceptions in such domains as music, to come up with language programmes that promote gender parity and equality in society.Linguistics and Modern Languages
Ph. D. (Languages, Linguistics and Literature)
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Gonye, Jairos. "Representations of dance in Zimbabwean literature, post - 1960." Thesis, 2016. http://hdl.handle.net/11602/350.
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Ganyata, Obert. "Indigenous African music and multiculturalism in Zimbabwean primary schools : toward an experiential open class pedagogy." Thesis, 2020. http://hdl.handle.net/10500/27037.
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This study focuses on the teaching of Indigenous African Music (IAM) in Zimbabwean primary schools, and proposes a new Experiential Open Class Pedagogy relevant to its multicultural contexts. A postcolonial theoretical paradigm informs the discussion of secondary literature, and the analysis of empirical data obtained through the following methods: interviews, lesson observations, focus
group discussions, and the analysis of teaching documents. Case studies were conducted at ten schools in the Gweru district of Zimbabwe. These schools were chosen from a mix of urban, peri-urban, and rural communities. The findings show the continued effects of colonialism on IAM teaching practices and pedagogy. The
effects of globalization and the high levels of migrancy in and out of Zimbabwe are discussed as factors shaping the teaching of IAM. Formal models of learning have undermined the status of IAM in favour of Western classical music. Recognizing this bias, but also the fact that culture is dynamic, this study strikes a balance by proposing a new pedagogy that integrates Western and African approaches to music
education. The study findings feed into the development of a new hybridised model called the Experiential Open Class Pedagogy (EOCP), which is suitable for multicultural contexts. This pedagogy encourages learners to use their personal experience of IAM practices in the home, and to draw on expertise from their local communities. The participation of children and their elders in the community
contributes to the openness of the learning process. A combination of learning at home, in communities, and in classrooms is vital in utilising all the critical avenues to acquiring knowledge and experience of IAM. Recommendations on policy and practice in Zimbabwean primary school education offer solutions to the present challenges. It is important for teachers to be active stakeholders in documenting the
very IAM practices they teach by carrying out research, and through continuous improvement initiatives in multicultural contexts.Art History, Visual Arts and Musicology
D. Phil. (Music)
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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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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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Ganyata, Obert. "Pedagogical challenges experienced by teachers of music literacy in Zimbabwe : a case study of five Gweru primary schools." Diss., 2015. http://hdl.handle.net/10500/21776.
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This study investigates the challenges experienced by teachers of music literacy in Zimbabwe, and is based on a case study of five primary schools in the city of Gweru. The research builds on a literature review of past studies on Zimbabwean music literacy teaching, and on a review of policy documents. Empirical data was collected through lesson observations, interviews with teachers and administrators, and the analysis of lesson plans. To validate the findings a method of triangulation was used. Results are presented in both narrative and tabular forms in this dissertation, and analysed inductively. Zoltan Kodály’s work informs the theoretical framework, as well as other African and Western music educators, including Dalcroze, Kwami, Nketia, and Suzuki. Consistent challenges recognized by all stakeholders include a lack of resources, inadequate teacher training, and the exclusion of music as an examination subject. Recommendations are provided by way of conclusion.Art History, Visual Arts and Musicology
M. Mus.
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Viriri, Agnella. "Female participation in the post-independence Zimbabwean popular music industry: a case study of Edith Katiji (Weutonga) and Sandra Ndebele." Thesis, 2014. http://hdl.handle.net/10539/15288.
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In her study of the post-independence Zimbabwean music industry, Angela Impey notes that women now constitute a hidden yet sizeable force in the music industry (1992:17). The current study examines the socio-political, cultural and economic factors that have led to the significant increase in the number of female musicians in the post-independence Zimbabwean popular music industry. The study also seeks to bring to the fore the longstanding issue of the dynamics in the relationship between male and female musicians in the industry. Applying a feminist approach to the study of popular music, the current study seeks to shift the focus of research from the presentation of women as victims in the industry to that of celebrating the female successes in the popular music industry. Through a case study approach the study sets out to describe and analyse the careers of Sandra Ndebele and Edith Weutonga who have become successful in the once male dominated industry.