Relevant bibliographies by topics / Shona (African people) – Music

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

Academic literature on the topic 'Shona (African people) – Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Shona (African people) – Music"

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Tembo, Charles, Allan T. Maganga, and Aphios Nenduva. "MUSICIAN AS CULTURE HERO: EXPLORING MALE-FEMALE RELATIONS IN PACHIHERA’S AND SIMON CHIMBETU’S SELECTED SONGS." Commonwealth Youth and Development 13, no. 2 (2016): 129–42. http://dx.doi.org/10.25159/1727-7140/1152.

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This article is a comparative exposition of positive male-female relations in lyrical compositions of selected Zimbabwean singers. Particular attention is on one female voice, Pah Chihera and a male voice, Simon Chimbetu. The argument avowed in this article is that the selected musicians are sober in their appreciation of gender relations in African ontological existence. It further argues that, unlike feminists who view male-female relations as antagonistic, the two musicians celebrate cordial and mutual cohesion, which is part of Shona or African heritage. Against that background, the musici
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Kyker, Jennifer. "REASSESSING THE ZIMBABWEAN CHIPENDANI." African Music: Journal of the International Library of African Music 10, no. 4 (2018): 40–66. http://dx.doi.org/10.21504/amj.v10i4.2233.

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The Shona chipendani (pl. zvipendani) is among dozens of musical bows found throughout southern Africa. An understanding of where the chipendani fits into the larger space of Zimbabwe’s musical and social life is markedly thin. Other than Brenner’s observation that the chipendani may occasionally be played by adult men while socializing over beer, descriptions of the chipendani seldom go further than remarking on theinstrument’s associations with cattle herding, and reducing it to the status of child’s play. In this article, I argue that conceptions of the musical and social identity of the ch
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Muranda, Richard. "Reflecting on death through song among the Shona people of Zimbabwe." DANDE Journal of Social Sciences and Communication 2, no. 2 (2018): 106–19. http://dx.doi.org/10.15641/dande.v2i2.53.

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Singing is undertaken by individuals and the community in dealing with real life experiences including death. Death is a reality which humans and animals are not immune to. It defines the end of life and brings pain to humanity. However, humans have mechanisms to deal with pain caused by death, and singing is one of them. The article examines how song is used to tackle the inevitable incidence of death. In this study, traditional and contemporary popular songs were purposively sampled to analyse and reflect on the nature of music used to cope with death. The study engaged 20 people, among them
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Tatira, Liveson. "Beyond the Dog's Name: A Silent Dialogue among the Shona People." Journal of Folklore Research: An International Journal of Folklore and Ethnomusicology 41, no. 1 (2004): 85–98. http://dx.doi.org/10.2979/jfr.2004.41.1.85.

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Chekero, Tamuka, and Shannon Morreira. "Mutualism Despite Ostensible Difference: HuShamwari, Kuhanyisana, and Conviviality Between Shona Zimbabweans and Tsonga South Africans in Giyani, South Africa." Africa Spectrum 55, no. 1 (2020): 33–49. http://dx.doi.org/10.1177/0002039720914311.

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This ethnographic study explores forms of mutuality and conviviality between Shona migrants from Zimbabwe and Tsonga-speaking South Africans living in Giyani, South Africa. To analyse these forms of mutuality, we draw on Southern African concepts rather than more conventional development or migration theory. We explore ways in which the Shona concept of hushamwari (translated as “friendship”) and the commensurate xiTsonga category of kuhanyisana (“to help each other to live”) allow for conviviality. Employing the concept of hushamwari enables us to move beyond binaries of kinship versus friend
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Peterman, Lewis. "Kotekan in the Traditional Shona Mbira Music of Zimbabwe." Mudra Jurnal Seni Budaya 25, no. 3 (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 (B
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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 (1994): 158. http://dx.doi.org/10.2307/524927.

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Pooley, Thomas Mathew. "CONTINENTAL MUSICOLOGY: DECOLONISING THE MYTH OF A SINGULAR “AFRICAN MUSIC”." African Music: Journal of the International Library of African Music 10, no. 4 (2018): 177–93. http://dx.doi.org/10.21504/amj.v10i4.2239.

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The musical identity of the African continent is sustained in the popular imagination by the idea of its unity. This identity emerges from a constellation of ideas about Africa’s distinctiveness constructed by generations of scholars who have diminished its diversity to substantiate the claim that shared principles of musical structure and function in sub-Saharan cultures can be read as ideal types for the continent as a whole. The idea of a singular “African music” is predicated on the notion that African “traditional” music of precolonial origin in sub-Saharan Africa possesses a set of disti
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Samanga, T., and V. M. Matiza. "Depiction of Shona marriage institution in Zimbabwe local television drama, Wenera Diamonds." Southern Africa Journal of Education, Science and Technology 5, no. 1 (2020): 53–74. http://dx.doi.org/10.4314/sajest.v5i1.39824/sajest.2020.001.

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Marriage is a highly celebrated phenomenon among the African people. It is one of the important institutions among the Shona and Ndebele people in Zimbabwe as expressed in the saying ‘musha mukadzi’ and ‘umuzingumama’ (home is made by a woman) respectively. However with the coming of colonialism in Zimbabwe, marriage was not given the appropriate respect it deserves. This has given impetus to this paper where the researchers in the study through drama want to bring out the depiction of marriage institution in a post -independence television drama, Wenera Diamonds (2017). This paper therefore,
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Makaudze, Godwin. "TEACHER, BOOK AND COMPANION: THE ENVIRONMENT IN SHONA CHILDREN’S LITERATURE." Commonwealth Youth and Development 13, no. 2 (2016): 100–109. http://dx.doi.org/10.25159/1727-7140/1150.

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Contemporary society has had running battles with citizens, trying to force them to be aware and appreciative of the importance of relating well with, and also safeguarding the environment. Modern ways of child socialisation seem in mentoring youngsters about the being, nature and significance of the environment (both natural and social) in life. Today, society it has largely become the duty of non-governmental organisations and law enforcement agents to educate and safeguard against the abuse of the social environment and the degradation, pollution and extinction of crucial facets of the natu
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Dissertations / Theses on the topic "Shona (African people) – Music"

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

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

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This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war,
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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 perf
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Latham, C. J. K. "Mwari and the divine heroes: guardians of the Shona." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1004666.

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Mutate, Joe Kennedy. "A critique of the Shona people of Zimbabwe's concept of salvation." Theological Research Exchange Network (TREN), 1997. http://www.tren.com.

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Maxwell, David James. "A social and conceptual history of North-East Zimbabwe, 1890-1990." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670267.

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Goodwin, David Pell, and n/a. "Belonging knows no boundaries : persisting land tenure custom for Shona, Ndebele and Ngai Tahu." University of Otago. Department of Surveying, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080807.151921.

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Aspects of customary land tenure may survive even where formal rules in a society supersede custom. This thesis is about persisting custom for Maori Freehold land (MFL) in New Zealand, and the Communal Areas (CAs) of Zimbabwe. Three questions are addressed: what unwritten land tenure custom still persists for Ngai Tahu, Shona and Ndebele, what key historical processes and events in New Zealand and Zimbabwe shaped the relationship between people and land into the form it displays today, and how do we explain differences between surviving customary tenure practices in the two countries? The rese
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Fort, L. Gregg. "Training churches in the Hurungwe district of Zimbabwe to deal with demonized persons through a contextualized Biblical approach." Theological Research Exchange Network (TREN), 1995. http://www.tren.com.

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Nguluwe, Johane A. "The "puny David" of Shona and Ndebele cultures a force to reckon with in the confrontation of the "Goliath" of violence /." Theological Research Exchange Network (TREN) Theological Research Exchange Network (TREN) Access this title online, 2006. http://www.tren.com.

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

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Books on the topic "Shona (African people) – Music"

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

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

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Dare, Valerie. Music of Zimbabwe: The spirit of the people. Britannia World Music Program, 1996.

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

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Grupe, Gerd. Die Kunst des Mbira-Spiels: Harmonische Struktur und Patternbildung in der Lamellophonmusik der Shona in Zimbabwe = The art of mbira playing. H. Schneider, 2004.

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Johnson, Robert, Jr., J.D., ed. Shona. Rosen Pub. Group, 1997.

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The Shona and their neighbours. Blackwell, 1994.

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Beach, D. N. Shona oral traditions. University of Zimbabwe, History Dept., 1990.

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Mungoshi, Charles. Stories from a Shona childhood. Baobab Books, 1989.

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Gombe, J. M. The Shona idiom. Mercury Press, 1995.

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Book chapters on the topic "Shona (African people) – Music"

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Sacré, Robert. "Black Music USA: From African to African American Music." In Charley Patton. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.003.0001.

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This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.
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Summit, Jeffrey A. "Music and the Construction of Identity among the Abayudaya (Jewish People) of Uganda." In The Garland Handbook of African Music. Routledge, 2010. http://dx.doi.org/10.4324/9780203927878-28.

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Cataliotti, Robert H. "“Not Many People Ever Really Hear it”: Richard Wright, Ann Petry & James Baldwin." In The Music in African American Fiction. Routledge, 2018. http://dx.doi.org/10.4324/9780429423864-8.

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Cataliotti, Robert H. "“There Must Be Some People Who Lived for Music”: Margaret Walker & William Melvin Kelley." In The Music in African American Fiction. Routledge, 2018. http://dx.doi.org/10.4324/9780429423864-11.

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Barron, Charrise. "Between Free Grace and Liberty." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0012.

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African Methodist Episcopal (AME) Bishop Richard Allen’s hymnody, when coupled with his anti-racist activism and his encouragement of communal music-making in worship, evoked eschatological freedom from sin and called for socio-political freedom for people of African descent in the years following the founding of the United States of America. To fully comprehend Allen’s hymnody, one should consider the urgency he bore for freedom and justice for black people in America. Allen (1760–1831) first published a hymnal in 1801, followed by a revised edition in the same year; the included hymns articulate his belief that people could receive individual freedom from both sin and God’s wrath at the final judgement. Allen held to the evangelical hope of Christ’s return which would inaugurate the emancipation of all enslaved people; likewise, eschatological justice must include freedom from political bondage for people of African descent in America. While holding the expectation of eschatological freedom and justice, he adamantly pursued this political freedom during his lifetime, as evidenced in his theo-political writings against slavery and other forms of racial injustice. Consequently, While the lyrics in his 1801 hymnbooks do not explicitly speak against contemporaneous racial injustice, Allen’s life’s work and prose suggest that this is an integral part of the context for Allen’s compilation of eschatological hymnody.
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"Singing for Change: Music as a Means of Political Expression for Young People in Sierra Leone and Liberia." In Travelling Models in African Conflict Management. BRILL, 2014. http://dx.doi.org/10.1163/9789004274099_009.

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Walker, Iain. "The Comorian People." In Islands in a Cosmopolitan Sea. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190071301.003.0008.

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The final chapter looks more closely at the islands’ people: their matrilineal kinship systems, age systems, associated rituals and powerful forces for social cohesion. It surveys their material culture, clothing, music and food, and explores the different types of social and ethnic identities that Comorians might invoke, particularly the hierarchies that continue to distinguish the noble born, those of Arab ancestry, and the descendants of slaves, the African, particularly on Ndzuani. On Mayotte, now firmly part of France, different identities are at play. The importance of the Comorian diaspora is explained, whether in Zanzibar, Madagascar or in France, and their contribution, particularly in terms of remittances, to local economic development. This chapter ends with some reflections on the future of the archipelago – both the independent state and French Mayotte.
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Riis, Thomas L. "Defying Boundaries and Escaping Stereotypes." In Rethinking American Music. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0010.

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Riis takes up the complicated conventions and troubled history of late-nineteenth-century blackface minstrelsy as it was blended and interwoven into the activities among a largely unknown contingent of thousands of African American (and mostly midwestern) musicians and entertainers. He explores how nineteenth-century entertainers understood their business, including the moniker “minstrel” itself, and what for them constituted original, creative work. In this essay, the questions of identity have less to do with personal stories than the importance of the group and how its activities have been lost to history. Knowledge of these forgotten show people, and the sources where more information about them might be found, can help us combat the persistence of degrading stereotypes used to provide oversimplified explanations of black musical and theatrical activity.
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McCreless, Patrick. "Richard Allen and the Sacred Music of Black Americans, 1740–1850." In Theology, Music, and Modernity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0010.

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This chapter’s central claim is that the notion of freedom, in the context of theology, music, and modernity (1740–1850), is incomplete if it does not address the sacred music of the enslaved people of North America during this period—a population for whom theology, music, and freedom were of enormous personal and social consequence. The central figure in this regard is Richard Allen (1760–1831), who in 1816 founded the African Methodist Episcopal (AME) Church, the first independent black religious denomination in the United States. Allen was born enslaved, in Philadelphia or Delaware, but was able to purchase his freedom in 1783. He had already had a conversion experience in 1777, and once he gained his freedom, he became an itinerant preacher, ultimately settling in Philadelphia, where he preached at St George’s Methodist Church and a variety of venues in the city. In 1794 he led a walkout of black members at St George’s, in protest of racism; and over the course of a number of years he founded Mother Bethel, which would become the original church of the AME. This chapter situates Allen in the development of black sacred music in the US: first, as the publisher of hymnals for his church (two in 1801, and another in 1818); and second, as an important arbitrator between the traditions and performance styles of Protestant hymnody as inherited in the British colonies, and an evolving oral tradition and performance style of black sacred music.
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Young, Robert J. C. "6. Hybridity." In Postcolonialism: A Very Short Introduction. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198856832.003.0007.

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‘Hybridity’ explains that cultural hybridity can be seen as an expansion of W. E. B. Du Bois’ concept of ‘double consciousness’: a painful incompatibility between how people see themselves and how society sees them only in terms of their race. Nevertheless, this has also formed the basis of the extraordinary cultural creativity of African-Americans. Drawing on cultural memory of their African roots, African-Americans have adapted and transformed aspects of European culture encountered in the US, particularly noticeable in the realm of African-American music. A comparable development of a hybridized culture is considered by tracing the emergence of raï music in 1970s Algeria, following the traumatic experiences of the Algerian War of Independence.
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Conference papers on the topic "Shona (African people) – Music"

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Paulo, Avner, Carlos Eduardo Oliveira De Souza, Bruna Guimarães Lima e Silva, Flávio Luiz Schiavoni, and Adilson Siqueira. "Black Lives Matter." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10459.

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The Brazilian police killed 16 people per day in 2017 and 3/4 of the victims were black people. Recently, a Brazilian called Evaldo Rosa dos Santos, father, worker, musician, and black, was killed in Rio de Janeiro with 80 rifle bullets shot by the police. Everyday, the statistics and the news show that the police uses more force when dealing with black people and it seems obvious that, in Brazil, the state bullet uses to find a black skin to rest. Unfortunately, the brutal force and violence by the state and the police to black people is not a problem only in this country. It is a global real
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