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

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

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1

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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Nhemachena, Artwell. "Hakuna Mhou Inokumira Mhuru Isiri Yayo: Examining the Interface between the African Body and 21st Century Emergent Disruptive Technologies." Journal of Black Studies 52, no. 8 (2021): 864–83. http://dx.doi.org/10.1177/00219347211026012.

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Colonially depicted as a region distinctive for fables and fabrications, Africa has ever since not been allowed to reclaim anything original. Dispossessed of their original wealth, Africans have been forced to live in fabled and fabricated houses, eating fabled, and fabricated food—closer to animals. Similarly, dispossessed of their original human identities, Africans have been forced to adopt fabricated identities. With the 21st century not promising any return to original African human identities, Africans are set to be further nanotechnologically (using tiny nanoparticles) fabricated into c
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Matiza, Vimbai Moreblessing, and Limukani T. Dube. "The Cultural and Historical Significance of Kalanga Place Names in Midlands Province of Zimbabwe." Journal of Law and Social Sciences 4, no. 2 (2020): 21–28. http://dx.doi.org/10.53974/unza.jlss.4.2.470.

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The discipline of onomastics is still at its infancy yet it constitutes a very important aspect of the day to day survival of a people in the society. Naming is part of oral tradition in African societies, people were never used to write and record things but rather their names. This means that names are a historical record that would carry some aspects of a people's way of life which include their history, beliefs and customs among others. On the same note, Midlands Province constitute of people from different backgrounds mainly Shona and Ndebele. Of interest to this research is the presence
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de Lerma, Dominique-Rene, and Rainer E. Lotz. "Black People: Entertainers of African Descent in Europe and Germany." Notes 55, no. 1 (1998): 120. http://dx.doi.org/10.2307/900373.

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Marx, Shirley. "A Zimbabwean mbira: a Tradition in African Music and its Potential for Music Education." British Journal of Music Education 7, no. 1 (1990): 25–42. http://dx.doi.org/10.1017/s026505170000749x.

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This article aims to encourage the provision of the Zimbabwean mbira dzavadzimu in schools as a means of experiencing a novel musical system. It provides an outline of the mbira's cultural context within an oral tradition. The basic structure of the mbira pattern is abstracted and represented by four types of notation which makes the music accessible to a range of people. However, the characteristic ‘inherent rhythms’ that emerge kaleidoscopically from patterns and variations throughout performance give the music an elusive quality, the dimensions of which cannot be captured in staff notation.
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Lebaka, Morakeng E. K. "Misconceptions About Indigenous African Music and Culture: the Case of Indigenous Bapedi Music, Oral Tradition and Culture." European Journal of Social Sciences 2, no. 2 (2019): 18. http://dx.doi.org/10.26417/ejss-2019.v2i2-61.

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Indigenous Bapedi music and oral tradition have been dismissed as myth, superstition and primitive stories. Such dismissal has been based on the misconception and assumption that indigenous Bapedi music and oral tradition are proletarian, steeped in evil religious experiences and unacceptable for worship. In Bapedi society, indigenous music and traditional oral stories are utilized to buttress and demonstrate the collective wisdom of Bapedi people, as well as to transmit Bapedi culture, values, beliefs and history from generation to generation. This article examines misconceptions about indige
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Ryan, Maria. "“The influence of Melody upon man in the wild state of nature”: Enslaved Parishioners, Anglican Violence, and Racialized Listening in a Jamaica Parish." Journal of the Society for American Music 15, no. 3 (2021): 268–86. http://dx.doi.org/10.1017/s1752196321000171.

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AbstractIn 1827, George Wilson Bridges, the outspoken proslavery rector of the parish of St. Ann, Jamaica, published a pamphlet of music that he had written to be used as the choral service at his church. The Bishop of Jamaica condemned Bridges's musical innovations on the grounds that they were not suitable to be heard by “a congregation chiefly composed by people of colour & negroes.” On the Bishop's orders, Bridges's music stopped, and by 1828 he reported that his pews were once more empty. The congregation of St. Ann parish church was almost entirely enslaved Africans and Afro-descenda
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Joseph, Dawn, and Kay Hartwig. "Promoting African Music and enhancing intercultural understanding in Teacher Education." Journal of University Teaching and Learning Practice 12, no. 2 (2015): 108–21. http://dx.doi.org/10.53761/1.12.2.8.

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Australia is a culturally diverse nation. The Arts provide a pathway that contributes to the rich tapestry of its people. Tertiary music educators have the responsibility to provide opportunities to effectively prepare and engage pre-service teachers in becoming culturally responsive. The authors discuss the importance and need to include guest music educators as culture bearers when preparing pre-service teachers to teach multicultural music. Drawing on data from student questionnaires, author participant observation and reflective practice in 2014, the findings highlight the experiences and
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Vuoskoski, Jonna K., Eric F. Clarke, and Tia DeNora. "Music listening evokes implicit affiliation." Psychology of Music 45, no. 4 (2016): 584–99. http://dx.doi.org/10.1177/0305735616680289.

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Recent empirical evidence suggests that – like other synchronized, collective actions – making music together with others fosters affiliation and pro-social behaviour. However, it is not yet known whether these effects are limited to active, interpersonal musical participation, or whether solitary music listening can also produce similar effects. This study examines the hypothesis that listening to music from a specific culture can evoke implicit affiliation towards members of that culture more generally. Furthermore, we hypothesized that listeners with high trait empathy would be more suscept
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Turner, Diane. "Black Music Traditions of Central Avenue." Practicing Anthropology 20, no. 1 (1998): 21–24. http://dx.doi.org/10.17730/praa.20.1.b06g13202633r087.

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Because of the early development of an African American community on Central Avenue, the city of Tampa, Florida provides an excellent environment to document Black music traditions in the southeastern region of the United States. By the late nineteenth century, an urban Black working class had formed on Central Avenue. Black musicians were part of a distinct cultural community, including divergent lifestyles, which were organically linked to the rural and urban life experiences of Black people in the United States and the Caribbean.
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Langlois, Tony. "The local and global in North African popular music." Popular Music 15, no. 3 (1996): 259–73. http://dx.doi.org/10.1017/s0261143000008266.

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On 29 September 1994, Cheb Hasni, the most renowned Rai singer living in Algeria, was gunned down outside his family's house in Gambetta, a quarter of the city of Waharan (Oran). He was one of many public figures (and some 50,000 others) who have been killed since the main opposition political party, the FIS (Islamic Salvation Front) was prevented from assuming power by the annulment of elections that they would have won in 1991. Like the most notable of Algeria's victims of violence, which include journalists, lawyers, doctors, television presenters and top policemen, Hasni represented a vers
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Frishkopf, Michael. "West African Polyrhythm: culture, theory, and representation." SHS Web of Conferences 102 (2021): 05001. http://dx.doi.org/10.1051/shsconf/202110205001.

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In this paper I explicate polyrhythm in the context of traditional West African music, framing it within a more general theory of polyrhythm and polymeter, then compare three approaches for the visual representation of both. In contrast to their analytical separation in Western theory and practice, traditional West African music features integral connections among all the expressive arts (music, poetry, dance, and drama), and the unity of rhythm and melody (what Nzewi calls “melo-rhythm”). Focusing on the Ewe people of south-eastern Ghana, I introduce the multi-art performance type called Agbe
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.

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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for
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Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.

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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than
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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 Adv
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DJEDJE, JACQUELINE COGDELL. "The (Mis)Representation of African American Music: The Role of the Fiddle." Journal of the Society for American Music 10, no. 1 (2016): 1–32. http://dx.doi.org/10.1017/s1752196315000528.

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AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on
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Miller, Doug. "The moan within the tone: African retentions in rhythm and blues saxophone style in Afro-American popular music." Popular Music 14, no. 2 (1995): 155–74. http://dx.doi.org/10.1017/s0261143000007418.

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The tenor is a rhythm instrument and the best statements negroes have made of what their soul is have been on tenor saxophone. Now you think about it and you'll see I'm right. The tenor's got that thing, that honk, you can get to people with it. Sometimes you can be playing that tenor and I'm telling you the people want to jump across the rail. (Ornette Coleman)
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Rodríguez-Bailón, Rosa, Josefa Ruiz, and Miguel Moya. "The Impact of Music on Automatically Activated Attitudes: Flamenco and Gypsy People." Group Processes & Intergroup Relations 12, no. 3 (2009): 381–96. http://dx.doi.org/10.1177/1368430209102849.

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The two studies reported in this article agree in demonstrating that activating a positive side of the stereotype of a traditionally prejudiced group could be a useful strategy to improve the implicit attitude toward that group. The goal of the current research was to explore whether activating the present association between Flamenco music and Gypsy people would decrease the negative view of this group in Spain, using the IAT measure. In the first study, when a stereotype-consistent but positive feature of Gypsies (i.e. Flamenco music) was used as a positively valued attribute in the IAT meas
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Taringa, Nisbert, and Clifford Mushishi. "Mainline Christianity and Gender in Zimbabwe." Fieldwork in Religion 10, no. 2 (2016): 173–89. http://dx.doi.org/10.1558/firn.v10i2.20267.

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This research aimed to find out the actual situation on the ground regarding what mainline Christianity is actually doing in confronting or conforming to biblical and cultural norms regarding the role and position of women in their denominations. It is based on six mainline churches. This field research reveals that it may not be enough to concentrate on gender in missionary religions such as Christianity, without paying attention to the base culture: African traditional religio-culture which informs most people who are now Christians. It also illuminates how the churches are actually acting t
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 68, no. 1-2 (1994): 135–205. http://dx.doi.org/10.1163/13822373-90002664.

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-Peter Hulme, Simon Gikandi, Writing in limbo: Modernism and Caribbean literature. Ithaca: Cornell University Press, 1992. x + 260 pp.-Charles V. Carnegie, Alistair Hennessy, Intellectuals in the twentieth-century Caribbean (Volume 1 - Spectre of the new class: The Commonwealth Caribbean). London: Macmillan, 1992. xvii 204 pp.-Nigel Rigby, Anne Walmsley, The Caribbean artists movement, 1966-1972: A literary and cultural history. London: New Beacon Books, 1992. xx + 356 pp.-Carl Pedersen, Tyrone Tillery, Claude McKay: A black poet's struggle for identity. Amherst: University of Massachusetts Pr
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Weisenfeld, Judith. "“The Secret at the Root”: Performing African American Religious Modernity in Hall Johnson's Run, Little Chillun." Religion and American Culture: A Journal of Interpretation 21, no. 1 (2011): 39–79. http://dx.doi.org/10.1525/rac.2011.21.1.39.

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AbstractFrancis Hall Johnson's (1888–1970) work to preserve and promote Negro spirituals places him among the twentieth century's most influential interpreters of African American religious music. Johnson was most closely associated with Marc Connelly's 1930 Pulitzer Prize-winning play, The Green Pastures, for which he served as musical arranger and choral conductor. His participation in this production, which became a lightning rod for discussions about the nature of black religious thought, made him sharply aware of the complex terrain of popular culture representations of African American r
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Cashner, Andrew A. "Imitating Africans, Listening for Angels." Journal of Musicology 38, no. 2 (2021): 141–82. http://dx.doi.org/10.1525/jm.2021.38.2.141.

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Church ensembles of Spaniards across the Spanish Empire regularly impersonated African and other non-Castilian characters in the villancicos they performed in the Christmas Matins liturgy. Although some scholars and performers still mistakenly assume that ethnic villancicos preserve authentic Black or Native voices, and others have critiqued them as Spaniards’ racist caricatures, there have been few studies of the actual music or of specific local contexts. This article analyzes Al establo más dichoso (At the happiest stable), an ensaladilla composed by Juan Gutiérrez de Padilla for Christmas
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Jafri, Shadan. "Music of Survival: A Search for Identity in the Works of Richard Wright." SMART MOVES JOURNAL IJELLH 9, no. 8 (2021): 1–8. http://dx.doi.org/10.24113/ijellh.v9i8.11147.

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The complexly changing nature of American life and the vigorous versatility and all-encompassing spread of the written record are the marks of American literature. Social forces always make their imprint on literature. Especially in America where the democratic processes bring the people into immediate familiarity with and sensitive response to cultural forces, the literature has responded quickly to such pressures. African American literature consists of the literary work by the writers of Afro-origin settled in USA. The category“ slave narratives” were writings by people who had experienced
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Swart, Inette. "Benefits of music education to previously disadvantaged South African learners: Perspectives of music teachers in the greater Tshwane Metropolis." International Journal of Music Education 38, no. 1 (2019): 52–65. http://dx.doi.org/10.1177/0255761419868151.

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This article focuses on the role of access to music education as an agent of social change and as an important way of empowering previously disadvantaged learners, putting this forward as an argument against the proposed downscaling of music in schools as advocated by the government. This narrative inquiry shed light on the perceptions of participating teachers associated with various music programs in the same larger geographical area on the benefits of music education to learners, including instilling discipline and a sense of purpose, general academic improvement, opportunities for social c
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K.M., Isaac, and Emmanuel O.A. "Rejection of Indigenous Music? Reflections of Teaching and Learning of Music and Dance in Tamale International School." African Journal of Social Sciences and Humanities Research 4, no. 2 (2021): 74–86. http://dx.doi.org/10.52589/ajsshr-muuuijwv.

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Culturally responsive teaching and learning in schools creates an engaging and accessible learning environment that ensures continuity in the traditions of the people. One of the aspects of culture which engages students effectively in the learning process is music and dance. However, the instructional delivery of Music and Dance in Tamale International School scarcely includes the indigenous music content to a broader perspective. The paper was an investigation to find out how music and dance was taught in Tamale International School. It also highlights the attitudes of students towards the t
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Davila, Carl. "Music and Social Institutions: al-Maʾlūf and al-Āla". International Journal of Middle East Studies 44, № 4 (2012): 785–86. http://dx.doi.org/10.1017/s002074381200089x.

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Music is not only an art form defined by certain formal elements, such as rhythmic and melodic modes. It is also a cultural form that implies significant social interaction. Music naturally evokes deeply felt emotions and can touch upon important social identities, because it helps people to experience feelings and express insights into their own lives. Moreover, the fact that it is performed situates any given musical genre within a specific set of sociocultural frames. Unpacking the social, economic, and political contexts surrounding musical genres can deepen our understanding of larger pro
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Shepler, Susan. "Youth music and politics in post-war Sierra Leone." Journal of Modern African Studies 48, no. 4 (2010): 627–42. http://dx.doi.org/10.1017/s0022278x10000509.

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ABSTRACTThe brutal, eleven-year long civil war in Sierra Leone has been understood by many scholarly observers as ‘a crisis of youth’. The national elections of 2007 were notable for an explosion of popular music by young people directly addressing some of the central issues of the election: corruption of the ruling party and lack of opportunities for youth advancement. Though produced by youth and understood locally as youth music, the sounds were inescapable in public transport, markets, and parties. The musical style is a combination of local idioms and West African hip-hop. The lyrics pres
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Cespedes, Karina L. "Beyond Freedom's Reach: An Imperfect Centering of Women and Children Caught within Cuba's Long Emancipation and the Afterlife of Slavery." International Labor and Working-Class History 96 (2019): 122–44. http://dx.doi.org/10.1017/s0147547919000231.

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AbstractThis article examines Cuba's long process of gradual emancipation (from 1868–1886) and the continual states of bondage that categorize the afterlife of Cuban slavery. The article addresses deferred freedom, re-enslavement, and maintenance of legal states of bondage in the midst of “freedom.” It contends with the legacy of the casta system, the contradictions within the Moret Law of 1870, which “half-freed” children but not their mothers, and it analyzes the struggle for full emancipation after US occupation, with the thwarted attempt of forming the Partido Independiente de Color to enf
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Adedeji, Femi. "Singing and Suffering in Africa A Study of Selected Relevant Texts of Nigerian Gospel Music." Matatu 40, no. 1 (2012): 411–25. http://dx.doi.org/10.1163/18757421-040001027.

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A major aspect of African music which has often been underscored in Musicological studies and which undoubtedly is the most important to Africans, is the textual content. Its significance in African musicology is based on the fact that African music itself; whether traditional ethnic, folk, art or contemporary, is text-bound and besides, the issue of meaning 'what is a song saying?' is paramount to Africans, whereas to Westerners the musical elements are more important. This is why the textual content should be given more priority. In terms of the textual content, Nigerian gospel music, an Afr
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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music
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Taranger, Angela. "Multiple Meanings: The Role of Black Gospel in an Interracial and Multi-Ethnic Edmonton Church." Canadian University Music Review 19, no. 2 (2013): 61–69. http://dx.doi.org/10.7202/1014447ar.

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This paper examines the process by which Black gospel music (performed according to aesthetic standards determined by African Americans) has become a site of meaning for both Black and White congregants at Edmonton Community Worship Hour, a church with an interracial and multi-ethnic ministry. Certain "transformations" (or "inversions") are at play in the conceptual systems of the people who attend; each individual has disparate, though intersecting, webs of meaning which become operational in a cross-cultural setting, relating to: the music itself, the method of worship, and the interpersonal
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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South Africa
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Amoros, Luis Gimenez. "BEYOND NATIONHOOD: HAUL MUSIC FROM A POSTCOLONIAL PERSPECTIVE IN WESTERN SAHARA AND MAURITANIA." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 41–59. http://dx.doi.org/10.21504/amj.v11i2.2313.

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This article examines the mobility of a precolonial musical style known as Haul music in two African countries, Western Sahara and Mauritania. Haul music is based on a modal system in which music and poetry are intrinsically related. This article traces the historical and musicological aspects of the Haul modal system in Western Sahara and Mauritania by offering an insight into how the postcolonial period has determined two narratives of Haul: a historical nationalism by way of revitalising the precolonial past in Mauritania; and political nationalism when reconsidering the ongoing process of
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Rasolofondraosolo, Zafimahaleo, and Ulrike H. Meinhof. "Popular Malagasy music and the construction of cultural identities." AILA Review 16 (July 8, 2003): 127–48. http://dx.doi.org/10.1075/aila.16.12ras.

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This paper explores the construction of cultural identities through contemporary music from Madagascar, in particular the songs by Dama — singer-song-writer of the eponymous group of musicians- the Mahaleo. Specific focus is on the role that the discourses of and about popular Malagasy music play for the identity constructions of Malagasy people in Madagascar and abroad. Discussions about contemporary African music on the media and in the cultural studies literature, and the record industry’s own appropriation and commercialization of such music as generic ‘world music — tend to neglect the ly
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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.

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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a
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James, Deborah. "‘Music of origin’: class, social category and the performers and audience of kiba, a South African migrant genre." Africa 67, no. 3 (1997): 454–75. http://dx.doi.org/10.2307/1161184.

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AbstractThis article uses a case study of the kiba migrant performance genre from the Northern Province of South Africa to illuminate recent theoretical ideas on the role of performers and audiences, and in so doing to offer a critical perspective on the way in which the concept of class has been conceptualised in some southern African studies. While the homogenising and Western-derived concept of class may well be unsuitable in some African and other southern contexts, as certain writers have claimed, migrant northern Sotho communities have developed indigenous notions of social category whic
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Charles, Monique. "Grime and Spirit: On a Hype!" Open Cultural Studies 3, no. 1 (2019): 107–25. http://dx.doi.org/10.1515/culture-2019-0010.

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Abstract Grime is a genre of Black British music originating from London at the turn of the twenty-first century. In this article, I explore responses to moments of Grime music making and engagement in live performance settings. I make connections between Grime, Black music streams (Lena), Black Atlantic (Gilroy) practices, the Black Public Sphere (Baker) AND how engagements at these intersections are connected to spiritual practice in the context of live performance. The power in Grime live performance settings; where the spiritual is found, connects to the sonic characteristics deployed, emb
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WASHINGTON, SALIM. "The Avenging Angel of Creation/Destruction: Black Music and the Afro-technological in the Science Fiction of Henry Dumas and Samuel R. Delany." Journal of the Society for American Music 2, no. 2 (2008): 235–53. http://dx.doi.org/10.1017/s1752196308080085.

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AbstractThis essay explores the thematic use of music in the science-fiction writings of two African American authors, Henry Dumas and Samuel R. Delany. Each author visited this theme in more than one work, and in at least one work centered the Afro-technological focus upon a special musical instrument: the “afro horn” in Dumas's story “Will the Circle Be Unbroken?” and a machete/flute in Samuel R. Delany's novel The Einstein Intersection. Both writers treat music itself, without regard to a material instrument, as a technology. Dumas depicted black music as a tool that enabled black people to
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Sarr, Ibrahima. "Language and Art in Senegal: The Crossbreeding of Identities in Music." Advances in Social Sciences Research Journal 8, no. 1 (2021): 61–69. http://dx.doi.org/10.14738/assrj.81.9530.

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Senegal is a melting pot of several civilizations mainly originated from the West (Europe) and the East (the Arab world). Assuming that language and culture are intrinsically related, the settlement of those people and their status as dominant minority sparked and strengthened the use of their languages in formal domains. In the long ran, as they became domesticated, thus now considered African languages because they have contributed to mold the cultural identity of younger generation, they involve in all linguistic interaction. Arab, in its classical form, remains a symbol of Islam which earn
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Da Silva, Pamela Lacorte. "Diáspora africana no Brasil – A música negra como fruto de identidade." ÎANDÉ : Ciências e Humanidades 2, no. 1 (2018): 136–47. http://dx.doi.org/10.36942/iande.v2i1.48.

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A presente pesquisa visa discutir e identificar, sob o contexto da diáspora africana, os elementos que se fortalecem por meio da música negra produzida no Brasil, focando nos blocos afro-baianos - no período do século XX adiante. Lida com a busca por um símbolo de resistência e autoestima para a história do povo negro, na medida em que a música negra dialoga com aspectos da negritude, da memória e da identidade de um povo e de sua ancestralidade.
 
 The current research aims to discuss and investigate, in the context of the African diaspora, the elements that are fortified through th
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Thurman, Kira. "Performing Lieder, Hearing Race: Debating Blackness, Whiteness, and German Identity in Interwar Central Europe." Journal of the American Musicological Society 72, no. 3 (2019): 825–65. http://dx.doi.org/10.1525/jams.2019.72.3.825.

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When African American concert singers began to perform German lieder in central Europe in the 1920s, white German and Austrian listeners were astounded by the veracity and conviction of their performances. How had they managed to sing like Germans? This article argues that black performances of German music challenged audiences' definitions of blackness, whiteness, and German music during the transatlantic Jazz Age in interwar central Europe. Upon hearing black performers masterfully sing lieder by Schubert, Schumann, Brahms, and others, audiences were compelled to consider whether German nati
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