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Journal articles on the topic 'Music – Zimbabwe'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Mabuto, Kudzai, and Umali Saidi. "Locating the nihilistic culture within Zimdancehall in contemporary Zimbabwe." DANDE Journal of Social Sciences and Communication 2, no. 2 (2018): 57–74. http://dx.doi.org/10.15641/dande.v2i2.46.

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A fusion of the Caribbean, African American and Zimbabwean music genres into the infamous glocalized Zimdancehall music has dulled the significance of other traditionalist Zimbabwean music genres. Dancehall culture has caused much controversy in Zimbabwean society, being blamed for the country’s increase in crime, violence and believed to encourage misogynistic attitudes among Zimbabwean youths through its negative themes. Using appraisal and dramatism theories the article shows the existential crisis the youth in Zimbabwe face due to economic as well as other social forces and thus align themselves to rather destructive misogynistic behaviours which somehow characterises contemporary Zimbabwe. Established in the article is the extent to which language used in Zimdancehall music is socially charged as well as globalized thus influencing youth feelings, emotions and behaviors. The article analyses lyrics of selected songs as well as makes references to selected musical videos from Zimdancehall artistes such as Soul Jah Love, Winky D, Lady Bee and Killer T as prominent artists revealing what has come to be considered contemporary ‘ghetto culture’ within popular culture in Zimbabwe. It is further argued that Zimdancehall has come to shape, inform behaviors, perceptions and aspirations of the Zimbabwean youth largely due to its nature of production as well as dissemination.

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2

MapurangaChitando, TapiwaEzra. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe." Religion and Theology 13, no. 1 (2006): 72–89. http://dx.doi.org/10.1163/102308012x13397496507667.

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AbstractThis study examines the texts of Zimbabwean gospel music to illustrate images of hope, healing, and regeneration. By analysing songs that were recorded between the late 1990s and 2005, the study highlights the importance of the social context to religious music performance. The study provides a description of the socio-economic context in which gospel music in Zimbabwe has been performed. The message of hope found in selected gospel songs is outlined, the theme of healing in gospel music is examined and the theme of Africa's renewal in Zimbabwean gospel music is highlighted. The study also describes how artists look forward to a new era of Africa's prosperity and progress. Throughout, reference is made to specific biblical passages that have inspired the different songs.

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3

Perman, Tony. "Muchongoyo and Mugabeism in Zimbabwe." African Studies Review 60, no. 1 (March 6, 2017): 145–70. http://dx.doi.org/10.1017/asr.2017.4.

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Abstract:This article explores the influence of nationalism and modernity in contemporary Zimbabwe and on the musical lives of Zimbabweans through an examination ofmuchongoyo, the signature dance–drumming tradition of Zimbabwe’s Ndau communities. Invoking the concept of “Mugabeism,” it illustrates how Shona nationalism and expectations of modernity have partially reshapedmuchongoyoin the turmoil of contemporary Zimbabwe. As indigenous practices serve political ends, their values shift. Consequently, there are now twomuchongoyos: one rooted in the unique history and values of Zimbabwe’s Ndau community, the other emerging from decades of political employment of indigenous music for the sake of nationalist discourse.

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4

Rugwiji, Temba T. "REREADING TEXTS OF MUSIC AND DANCE IN THE HEBREW BIBLE: THE SPIRITUALITY OF MUSIC AND DANCE IN ZIMBABWE." Journal for Semitics 25, no. 1 (May 9, 2017): 72–98. http://dx.doi.org/10.25159/1013-8471/2527.

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The Hebrew Bible depicts that music and dance formed part of worship and reverence of Yahweh in which various musical instruments were played during ancient biblical times. In the modern post-biblical world, music and dance characterise every context of human existence either in moments of love, joy, celebration, victory, sorrow or reverence. In Zimbabwe, music — which is usually accompanied by dance — serves various purposes such as solidarity towards or remonstration against the land reform, despondency against corruption, celebration, giving hope to the sick, worship as in the church or appeasing the dead by those who are culturally-entrenched. Two fundamental questions need to be answered in this article: 1) What was the significance of music and dance in ancient Israel? 2) What is the significance of music and dance in Zimbabwe? In response to the above questions, this essay engages into dialogue the following three contestations. First, texts of music, musical instruments and dance in the Hebrew Bible are discussed in view of their spiritual significance in ancient Israel. Second, this study analyses music and dance from a faith perspective because it appears for the majority of Gospel musicians the biblical text plays a critical role in composing their songs. Third, this article examines music and dance in view of the spirituality which derives from various genres by Zimbabwean musicians in general. In its entirety, this article attempts to show that the Zimbabwean society draws some spirituality from music and dance when devastated by political, cultural or socio-economic crises.

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5

Gwekwerere, Gadziro. "Gospel Music as a Mirror of the Political and Socio-Economic Developments in Zimbabwe, 1980-2007." Exchange 38, no. 4 (2009): 329–54. http://dx.doi.org/10.1163/016627409x12474551163619.

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AbstractThis paper explores, analyses and discusses Zimbabwean gospel song themes from 1980 up to 2007 in relation to the Zimbabwean political and socio-economic situations in the country. The history of the socio-economic and political development of Zimbabwe during 1980-2007 would certainly be incomplete without including 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 multitude of gospel musicians criticizing its policies and malpractices. Works of various gospel artistes will be used as evidence but due to issues of space, it has not been possible to cover all Zimbabwean gospel artists.

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6

Mutero, Tinashe, and Sylvia Kaye. "Music and Conflict Transformation in Zimbabwe." Peace Review 31, no. 3 (July 3, 2019): 289–96. http://dx.doi.org/10.1080/10402659.2019.1735164.

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7

Mano, Winston. "POPULAR MUSIC AS JOURNALISM IN ZIMBABWE." Journalism Studies 8, no. 1 (February 2007): 61–78. http://dx.doi.org/10.1080/14616700601056858.

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8

Magosvongwe, Ruby. "MATHIAS MHEREâ€™S FUNCTIONAL USES OF GOSPEL MUSIC IN THE ZIMBABWEAN POST-2000 MALADIES." Imbizo 6, no. 1 (June 21, 2017): 67–79. http://dx.doi.org/10.25159/2078-9785/2798.

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The article critiques Mathias Mhereâ€™s gospel music from an Afrocentric perspective within the context of complexities and maladies that have impacted negatively on the majorityâ€™s livelihoods in Zimbabweâ€™s post-2000 period. The maladies have seen society marshalling different strategies and oral art forms to keep peopleâ€™s spirits buoyant. Oral art forms have always been at the centre of African experience, constituting a repository of the philosophy of life as desired, imagined, and treasured among most indigenous families and communities. In the absence of the oral folklore and oral art forms of yesteryear that were used to inculcate communal values and skills to self-define and safeguard cultural spaces, gospel music has made inroads and carved an indelible niche that needs critical attention. This strategy is not novel to Zimbabwe. Music as an oral and performance art has always been deeply ingrained in most social activities to raise and censure conduct across all ages for societyâ€™s greater good, including cementing the social fabric, and fostering social cohesion and stability among most indigenous families and communities. In the recalcitrant environment, fraught with a myriad of maladies and many a family in dispersion, gospel music in the indigenous languages becomes critical in exhorting and censuring attitudes, conduct and desires in order to uphold treasured values. Family dispersions disrupted institutions and fractured relationships, further fanning insecurities and imbalances. It is from this angle that this article makes a critical analysis of Mathias Mhereâ€™s gospel lyrics. Mhere is one of the most popular young gospel artists whose albums have been hits on the Zimbabwean music charts. The article therefore examines the forte behind Mhereâ€™s gospel music in the Zimbabwean post-2000 maladies. It also interrogates Mhereâ€™s artistic creativity, sensitivity and commitment to sustainable livelihoods and survival in post-2000 Zimbabweâ€™s fractious environment.

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9

Grupe, Gerd, and Wolfgang Laade. "Zimbabwe: The Ndebele People." Yearbook for Traditional Music 26 (1994): 191. http://dx.doi.org/10.2307/768271.

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10

Moore, Will H. "Rebel music: Appeals to rebellion in Zimbabwe." Political Communication 8, no. 2 (April 1991): 125–38. http://dx.doi.org/10.1080/10584609.1991.9962913.

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11

White, Bob W. "Nationalists, Cosmopolitans, and Popular Music in Zimbabwe." American Ethnologist 29, no. 2 (May 2002): 464–65. http://dx.doi.org/10.1525/ae.2002.29.2.464.

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12

Kupe, Tawana. "The meanings of music: media representations of popular music in Zimbabwe." African Identities 1, no. 2 (October 2003): 187–96. http://dx.doi.org/10.1080/1472584032000171267.

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13

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

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In Zimbabwe, urban musicians and educators often perceive karimba as a category of relatively small mbira that are used for secular entertainment. This notion is strongly influenced by the prominence of the Kwanongoma mbira, or nyunga nyunga mbira, a 15-key karimba that was first popularized by the Kwanongoma College of Music in the 1960s. Despite a wealth of research, very little has been written about karimba traditions around the Zimbabwe-Mozambique border that are associated with traditional religious practices. In this article, the author focuses on a type of karimba with more than 20 keys that shares much of the same repertoire with matepe/madhebhe/hera music in Rushinga, Mutoko, and Mudzi Districts in Zimbabwe and nearby regions in Central Mozambique. The author explores the connections between innovations of the Kwanongoma mbira and karimba traditions in the Northeast with examples from the International Library of African Music archival collections and her own ethnographic research. This article provides a foundation upon which others may further conduct research on karimba music and suggests possible directions for incorporating these findings into educational contexts.

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14

Titus, Olusegun Stephen. "ECOMUSICOLOGY, INDIGENOUS KNOWLEDGE AND ENVIRONMENTAL DEGRADATION IN IBADAN, NIGERIA." African Music: Journal of the International Library of African Music 11, no. 1 (December 1, 2019): 72–90. http://dx.doi.org/10.21504/amj.v11i1.2293.

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In Zimbabwe, urban musicians and educators often perceive karimba as a category of relatively small mbira that are used for secular entertainment. This notion is strongly influenced by the prominence of the Kwanongoma mbira, or nyunga nyunga mbira, a 15-key karimba that was first popularized by the Kwanongoma College of Music in the 1960s. Despite a wealth of research, very little has been written about karimba traditions around the Zimbabwe-Mozambique border that are associated with traditional religious practices. In this article, the author focuses on a type of karimba with more than 20 keys that shares much of the same repertoire with matepe/madhebhe/hera music in Rushinga, Mutoko, and Mudzi Districts in Zimbabwe and nearby regions in Central Mozambique. The author explores the connections between innovations of the Kwanongoma mbira and karimba traditions in the Northeast with examples from the International Library of African Music archival collections and her own ethnographic research. This article provides a foundation upon which others may further conduct research on karimba music and suggests possible directions for incorporating these findings into educational contexts.

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15

MURPHY, REGINA, and MARTIN FAUTLEY. "Music Education in Africa." British Journal of Music Education 32, no. 3 (November 2015): 243–45. http://dx.doi.org/10.1017/s0265051715000388.

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Coming from Botswana, South Africa, Zimbabwe, Ghana and Kenya, the papers in this Special Issue on Music Education in Africa cannot portray a definitive story of music education in all 54 sovereign states in the Continent, but as a first step towards understanding what matters in this region of the world, the range of topics in this issue provides us with a focal point for dialogue.

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16

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

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This article documents musical interlocking as it is traditionally practiced among the Shona people of Zimbabwe. Its focus is on the music of the mbira dzavadzimu, a traditional musicial instrument that consists of 22-25 or more keys distributed over three manuals(keyboards) played with both thumbs and one index finger. Numerous musical examples,using notational symbols developed for this study, are used throughout to clarify all technicaldetails. Most of the notational symbols are the same or similar to those used by Paul Berliner in his classic study The Soul of Mbira (Berliner: 1978). Six complete traditional mbira dzavadzimu pieces are presented in easy-to-read notated form: “Nhemamusasa,” “Chakwi,” “Nhemamusasa Variation,” “Nyamaropa,” “Shumba,” and “Taireva.” Four different categories ofinterlocking procedures form the core of the article: 1) Interlocking in Solo Mbira Music; 2) Interlocking in Two-Part Mbira Music; 3) Interlocking in Three-Part Mbira Music; and 4) Interlocking in Multiple-Part Mbira Music. Three supporting categories are also presented: 1) Interlocking in Mbira “High-Line” Parts; 2) Interlocking in Accompanying Vocal Parts; and 3) Interlocking in Miscellaneous Accompanying Parts. Much of the data in this article was gathered by the author through his private instruction with the following distinguished Shona mbira players: Irene Chigamba, Tute Chigamba, Musekiwa Chingodza, Stella Chiweshe, Michael Kamunda, Forward Kwenda, Ephat Mujuru, and Luken Kwari Pasipamire.

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17

Mphande, Lupenga. "Nationalists, Cosmopolitans, and Popular Music in Zimbabwe (review)." Research in African Literatures 32, no. 2 (2001): 209–11. http://dx.doi.org/10.1353/ral.2001.0054.

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18

Walker, Gavin Robert. "African music, power, and being in colonial Zimbabwe." Ethnomusicology Forum 26, no. 3 (June 8, 2017): 397–98. http://dx.doi.org/10.1080/17411912.2017.1336110.

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19

Allen, Lara. "Nationalists, Cosmopolitans, and Popular Music in Zimbabwe (review)." Notes 58, no. 2 (2001): 378–79. http://dx.doi.org/10.1353/not.2001.0176.

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20

Kreutzer, Natalie Jones. "Resources, Research, and Reviews: Music in Rural Zimbabwe." General Music Today 15, no. 1 (October 2001): 16–20. http://dx.doi.org/10.1177/10483713010150010105.

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21

Brown, Ernest D., and Wolfgang Laade. "Zimbabwe: The Ndebele People." Ethnomusicology 38, no. 3 (1994): 550. http://dx.doi.org/10.2307/852129.

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22

Tivenga, Doreen Rumbidzai. "Contemporary Zimbabwean popular music in the context of adversities." Tydskrif vir Letterkunde 55, no. 1 (March 20, 2018): 134–48. http://dx.doi.org/10.17159/2309-9070/tvl.v.55i1.1583.

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Contemporary Zimbabwean popular and urban genres of music namely, urban grooves and its variant Zimdancehall emerged and continue to exist at a time Zimbabwe is grappling with socio-economic and political adversities. The music is part of crucial artistic forms and dissent, hence for the ordinary Zimbabweans, it plays a significant role, detailing their experiences and survival strategies and influencing their patterns of entertainment and daily cultural practises. This article which is informed by popular culture theorists such as Karin Barber (1987) and John Fiske (1989) makes a textual analysis of Winky D's (2015) songs "Disappear", "Copyrights" and "Survivor" to examine the power of the songs in exploring the survival strategies employed by ordinary Zimbabweans in dealing with their experiences. The paper examines how the music is a source of power that fosters a response resonating with a postcolonial urban youth cultural activism seeking to empower the ordinary Zimbabweans to autonomously transcend their adversities and take control of their destinies in a country where the ruling elite are failing to improve the nation's socio-economic conditions.

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23

SCANNELL, PADDY. "Music, radio and the record business in Zimbabwe today." Popular Music 20, no. 1 (January 2001): 13–27. http://dx.doi.org/10.1017/s0261143001001283.

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Radio and the recording business have, since the beginning of the last century, had a profound impact upon existing musical life whenever and wherever they have decisively and irreversibly established themselves. Their arrival restructures and redefines the social relations of music in many aspects of its production, performance and reception. Radio and recording technologies have had a significant impact on the livelihoods of all those who one way or another try to make a living from music (composers, performers and - in Europe - publishers, for instance). Performance itself is transformed as new norms are set in place which call for new levels of technique and interpretation. Finally the conditions of musical reception are reconfigured and new `taste publics' emerge, potentially in conflict with each other, as musical life is totalised into a new and complex unity.

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24

von Fremd, Sarah, and Claire Jones. "Making Music: Musical Instruments in Zimbabwe past and Present." African Studies Review 37, no. 3 (December 1994): 159. http://dx.doi.org/10.2307/524928.

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25

G., M., Claire Jones, and Joseph Matare. "Making Music: Musical Instruments in Zimbabwe, Past and Present." Notes 51, no. 1 (September 1994): 221. http://dx.doi.org/10.2307/899249.

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26

Mhiripiri, Joyce Tsitsi. "Patterns of live music promotion and management in Zimbabwe." Muziki 9, no. 2 (November 2012): 66–79. http://dx.doi.org/10.1080/18125980.2012.742236.

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27

Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.

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28

Jones, Claire. "Shona WomenMbiraPlayers: Gender, Tradition and Nation in Zimbabwe." Ethnomusicology Forum 17, no. 1 (June 2008): 125–49. http://dx.doi.org/10.1080/17411910801972982.

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29

Barz, Gregory F., Stephen Roskilly, and Louis Mhlanga. "ZIMIA: The Forming of a Music Industry Association in Zimbabwe." Ethnomusicology 46, no. 2 (2002): 344. http://dx.doi.org/10.2307/852791.

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30

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

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31

Kreutzer, Natalie Jones. "Music Acquisition of Children in Rural Zimbabwe: A Longitudinal Observation." Journal of Research in Childhood Education 15, no. 2 (June 2001): 181–93. http://dx.doi.org/10.1080/02568540109594959.

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32

Mapuranga, Tapiwa, and Ezra Chitando. "Songs of Healing and Regeneration: Pentecostal Gospel Music in Zimbabwe." Religion and Theology 13, no. 1 (July 1, 2006): 72–89. http://dx.doi.org/10.1163/157430106778007644.

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33

Burns, James. "Mhoze Chikowero. African Music, Power and Being in Colonial Zimbabwe." American Historical Review 122, no. 2 (March 30, 2017): 614–15. http://dx.doi.org/10.1093/ahr/122.2.614a.

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34

Mataruse, Shadreck. "Transmitting Cultural Identity in Schools through Traditional Music: A Case Study of Three Districts in Zimbabwe." Global Journal of Educational Studies 3, no. 1 (April 11, 2017): 61. http://dx.doi.org/10.5296/gjes.v3i1.10638.

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Traditional music may be used to transmit and preserve cultures of various societies in schools. To address the above concern, the researcher carried out a study on traditional music performances in three Zimbabwean districts. The study employed a qualitative approach. Audio visual recordings, interviews and questionnaires were used for data collection. The population comprised members from three districts and music teachers from the selected schools. The study revealed that music education may be of meaningful value to societies when local traditional songs are used. The study also disclosed that traditional music plays a pivotal role in instilling the expected norms, values and standards in children. Respondents advocated that traditional songs should be taught to young generations because, through these, the young can learn the behaviour they are expected of, to become functional members of the society. The research recommends that local traditional songs should be used in teaching music. What is taught in schools should be culturally relevant to and affirming of the students’ lived realities. The school authorities should encourage the inclusion of local traditional songs in music instruction. Teachers and parents should also work together to transmit culture through generations using oral and literal means.

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35

Williams, Linda F. ""Straight-Fashioned Melodies": The Transatlantic Interplay of American Music in Zimbabwe." American Music 15, no. 3 (1997): 285. http://dx.doi.org/10.2307/3052326.

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36

Eide, Arne H. "Rusmiddelbruk blant skolebarn i Zimbabwe." Nordic Studies on Alcohol and Drugs 14, no. 2 (April 1997): 74–82. http://dx.doi.org/10.1177/145507259701400208.

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A classroom survey among 3 211 secondary-school students was conducted in four provinces in Zimbabwe in 1994. The lifetime prevalence and measures of more frequent use of alcohol, tobacco, cannabis and inhalants are presented as well as an analysis of the relationship between drug use and social and cultural predictors. Respondents were selected by means of a two-stage random sample design. Data collection followed international standardised procedures. Stratification was based on the identification of four different socio-cultural groups. Cultural orientation was operationalised by means of a Likert-type 14-item scale on choice of media, language and music. Exploratory principal component analyses revealed a 2-factor solution, representing a Global and a Local cultural orientation dimension. Results showed that self-reported drug use in general varied between the social groups and that experience increased with increasing socioeconomic status. For cannabis and inhalants use, the social distribution differed from that of alcohol and tobacco in that the subgroups low and high on the socio-economic dimension scored highest. Use of all four drugs was positively associated with global cultural orientation, whereas local cultural orientation was negatively associated with use of alcohol and tobacco. For cannabis and inhalants, no relationship with local cultural orientation was demonstrated.

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37

Matiza, Vimbai Moreblessing. "PUNGWEGATHERINGS AS FORMS OF DRAMA FOR DEVELOPMENT THROUGH MUSIC IN ZIMBABWE." Muziki 12, no. 1 (January 2, 2015): 62–73. http://dx.doi.org/10.1080/18125980.2015.1031450.

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38

Chikowero, Moses. "The state and music policy in post-colonial Zimbabwe, 1980-2000." Muziki 4, no. 1 (July 2007): 111–28. http://dx.doi.org/10.1080/18125980701754637.

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39

Chari, Tendai. "Representation of women in male-produced “urban grooves” music in Zimbabwe." Muziki 5, no. 1 (July 2008): 92–110. http://dx.doi.org/10.1080/18125980802633045.

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40

Chamisa, Vimbai, and Isaac Machafa. "The Adaptation and Development of Jiti for Popular Music Performance in Zimbabwe." Muziki 18, no. 1 (January 2, 2021): 3–13. http://dx.doi.org/10.1080/18125980.2021.1963314.

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41

Mapira, Nesta Nyaradzo, and Made Mantle Hood. "Performing Authenticity And Contesting Heritage In The UNESCO-Inscribed Jerusarema/Mbende Dance Of Zimbabwe." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 1. http://dx.doi.org/10.31091/lekesan.v1i1.340.

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In African societies, traditional dances form and shape a multitude of cultural expressions that reflect socio-cultural status, stalwart traditions and degrees of heritage maintenance. Due to colonisation, westernisation and Christianity, the performative aesthetics of many African traditional dances have been drastically modified over time. One such traditional dance in Zimbabwe that has undergone continual socio-cultural and aesthetic change is Jerusarema/Mbende from the Murehwa and Uzumba-Maramba-Pfungwe districts of Mashonaland Eastern province. In 2005, The Mbende Jerusarema Dance of Zimbabwe was proclaimed on the United Nations Educational Scientific and Cultural Organisation (UNESCO) list of Masterpieces of Oral and Intangible Heritage of Humanity. Authentic elements of the dance were compiled by the Zimbabwe National Oral and Intangible Cultural Heritage (ZNOICH) committee in an effort to safeguard it against change. This safeguarding led the Jerusarema/Mbende dance along a contested path of endorsement and utilisation in multiple contexts by some performance ensembles such as Swerengoma, Ngomadzepasi, Zevezeve, Shingirirai and Makarekare as promoted by prominent dance festivals. These ensembles assert different agendas through music, props, instruments and dance movements. Drawing upon documentary video evidence from the National Arts Council of Zimbabwe and interviews, this paper evaluates the extent to which the authentic elements of the Jerusarema/Mbende dance inscribed on the UNESCO list have been safeguarded in formalised performances from 2013 to 2015. Video recordings from this period showing continuous participation of Ngoma Dzepasi, Makarekare and Shingirirai are used to assess similarities and differences from the fixity of authentic elements. We argue that UNESCO’s recognition of the Jerusarema/Mbende dance as intangible cultural heritage has, on the one hand, revived and maintained some characteristics of this dance but, on the other hand, gradually compromised innovative aesthetic music and dance elements introduced by inheriting generations.

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42

Bhebhe, Sithulisiwe, Tawanda Runhare, and Ratau John Monobe. "Training music teachers through distance learning: The case of teaching practice mentoring at one primary school teacher training college in Zimbabwe." British Journal of Music Education 32, no. 3 (November 2015): 259–71. http://dx.doi.org/10.1017/s0265051715000339.

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This study sought to examine the quality of teaching practice (TP) mentoring in the teaching of music at primary school level through the distance mode of training at one college of education in Zimbabwe. The study examined the experiences and perceptions of lecturers and student teachers on TP mentoring in music within the context of a distance mode of teacher training. A purposive sample of 17 music student teachers and 11 lecturers was selected. The study employed a qualitative case study research design in which one-on-one interviews, focus group discussions and documentary analysis were used to collect data. The main conclusion from the study was that the distance approach to teacher training was not effectively utilised for teacher preparation in music due to inadequate music knowledge and skills of mentor teachers as well as weaknesses of the school curriculum. Recommendations drawn from these conclusions are that the teaching practice period should not be the same for all subjects and more demanding subjects such as music deserve to be practiced more. Student teachers specialising in music must be placed for teaching practice where there are music specialist teachers. This study also recommends that the placement of music student teachers for teaching practice be undertaken jointly by the teaching practice coordinators and the music specialist lecturer.

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43

Mano, Winston. "‘Thank God it is Friday’: Responses to music scheduling on Radio Zimbabwe." Muziki 6, no. 2 (November 2009): 192–220. http://dx.doi.org/10.1080/18125980903250764.

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44

Amoros, Luis Gimenez. "Book review: Mhoze Chikowero, African Music, Power, and Being in Colonial Zimbabwe." Journal of Asian and African Studies 53, no. 1 (January 17, 2017): 162–63. http://dx.doi.org/10.1177/0021909616686640.

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45

Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.

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AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.

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Maedza, Pedzisai. "Third Time Lucky: Freshlyground and Cross-border Censorship in Zimbabwe." Popular Music and Society 43, no. 5 (August 6, 2019): 550–68. http://dx.doi.org/10.1080/03007766.2019.1651561.

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47

Maganga, Allan T., Charles Tembo, and Peterson Dewah. "SINGING THE SECOND CHIMURENGA (WAR OF LIBERATION): AN AFROCENTRIC ELUCIDATION OF SIMON CHIMBETUâ€™S SELECTED SONGS." Oral History Journal of South Africa 3, no. 1 (January 5, 2016): 32–42. http://dx.doi.org/10.25159/2309-5792/331.

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Oral sources such as proverbs, songs and folktales have been used to reconstruct peopleâ€™s identities. As a primary â€˜means of communicationâ€™ music is often used to capture or record peoplesâ€™ experiences in history. In Zimbabwe, Simon Chimbetu exemplifies one musician who is in search of his countryâ€™s past in as far as he uses his music to record the history of the liberation struggle. This paper provides an in-depth examination of Chimbetuâ€™s selected songs. Singing after the war itself is over, it is argued, the music functions as a reference point to the citizens because it is a transcript of their past experiences something which is essential to the present and future generations. By insisting on educating his audiences on the liberation struggle, Chimbetu satisfies Sankofan approach. It is argued in this paper that Chimbetuâ€™s musical reflections provide enriching experiences and reveals that it is historical music.

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Impey, Angela. "Thomas Turino. Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago: University of Chicago Press, 2000." Journal of Popular Music Studies 16, no. 1 (April 2004): 95–98. http://dx.doi.org/10.1111/j.0022-4146.2004.0012c.x.

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

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Maguraushe, Wonder. "INSIGHTS INTO THE ZIMBABWE INTEGRATED NATIONAL TEACHER EDUCATION COURSE: GRADUATES’ MUSIC TEACHING COMPETENCE." Muziki 12, no. 1 (January 2, 2015): 86–102. http://dx.doi.org/10.1080/18125980.2015.1031452.

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