Relevant bibliographies by topics / Songs, Shona

Contents

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

Academic literature on the topic 'Songs, Shona'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Songs, Shona"

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Rafomoyo, Fredrick. "A Semiotic Exploration of the Evolving Messaging in the Shona Traditional Songs: The Elusive Context, Categorization and Paralinguistic Features of the Song “Nyama Yekugocha." Current Trends in Mass Communication 3, no. 1 (2024): 01–06. https://doi.org/10.33140/ctmc.03.01.06.

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This study employs a semiotic exploration to investigate the evolving categorization and usage of the Shona traditional song "Nyama Yekugocha." Despite its association with specific occasions, the song's origins and cultural context remain elusive. The research, utilizing netnography and narrative interviews, aims to unravel the song's shrouded context, dissecting layers of meaning in its lyrics and exploring paralinguistic features. Acknowledging the song's transformative nature, from a cultural artifact to a symbol of victory, the study addresses challenges posed by contemporary shifts. The
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Mutasa, D. E., and I. Mutawi. "A philosophical interpretation of the significance of oral forms in I. Mabasa’s novel Mapenzi (1999)." Literator 29, no. 3 (2008): 157–80. http://dx.doi.org/10.4102/lit.v29i3.130.

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The article critically analyses the use of Shona oral art forms in I. Mabasa’s novel “Mapenzi” (“Mad people”/“Foolish people”). It departs from the realisation that the writer identifies with Shona people’s oral experiences in the form of songs, “bembera” (satiric poetry) and folktales among others. These oral art forms provide the means by which the writer overcomes both selfcensorship and real or imagined state censorship. The article advances the argument that Mabasa uses the Shona people’s oral art forms in a manner that is ideologically and pedagogically empowering. This is consistent wit
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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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Makina, Blandina. "Images of women in Shona songs by Zimbabwean male singers." Muziki 10, sup1 (2013): 50–59. http://dx.doi.org/10.1080/18125980.2013.852743.

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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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Maguraushe, Wonder. "When Vulgarism Comes through Popular music: An Investigation of Slackness in Zimdancehall Music." Filosofia Theoretica: Journal of African Philosophy, Culture and Religions 12, no. 1 (2023): 131–44. http://dx.doi.org/10.4314/ft.v12i1.8.

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In Zimbabwe, popular music, particularly the Zimdancehall music genre, has become a cultural site where Shona moral values clash with explicit sexual lyrical content despite a censorship regime in the country. This article examines the nature and cultural consequences of the moral decadence that emerges in popular Zimdancehall song lyrics by several musicians. The article illustrates how vulgar language popularises Zimdancehall songs in unheralded ways that foster identities laced with cultural ambivalences that may portray the artists as both famous and depraved. This qualitative study does t
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Makanda, Arthur Takawira P., and Maurice T. Vambe. "Popular songs and the creation and expansion of Shona orthography in Zimbabwe." Muziki 9, no. 1 (2012): 99–117. http://dx.doi.org/10.1080/18125980.2012.737108.

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Muwati, Itai, and Davie E. Mutasa. "An analysis of selected Shona children's songs: Philosophical perspectives on child development." Muziki 5, no. 1 (2008): 1–10. http://dx.doi.org/10.1080/18125980802633086.

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Vambe, Maurice T. "The function of songs in the Shona ritual-myth of Kurova Guva." Muziki 6, no. 1 (2009): 112–19. http://dx.doi.org/10.1080/18125980903037393.

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Musiyiwa, Mickias, and Marianna W. Visser. "The communicative functions of post-2000 Shona popular songs: A typological analysis." South African Journal of African Languages 35, no. 2 (2015): 249–59. http://dx.doi.org/10.1080/02572117.2015.1113019.

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Dissertations / Theses on the topic "Songs, Shona"

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Musiyiwa, Mickias. "The narrativization of post-2000 Zimbabwe in the Shona popular song-genre : an appraisal approach." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80237.

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Thesis (PhD)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: The study explores the post-2000 popular song genre (expressed in Shona) in order to analyze its rhetorical potential in its appropriation as a medium for the construction and contestation of meanings concerning land, history and selected (political, social and religious) identities. The goal is to discover how the turbulent post-2000 period in Zimbabwe is narrativized through the lyrics of popular songs. The rationale to focus on popular songs in the context of this period was my observation of the uniquely high level of approp
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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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Chimbarange, Advice. "An analysis of gendered metaphors in selected Zimbabwean Shona songs." Thesis, 2019. http://hdl.handle.net/10500/26532.

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This qualitative study analyses gendered metaphors in selected Zimbabwean Shona songs. The study explores how musicians deploy gendered metaphors to propagate, reinforce or challenge gender views and positions held in the Zimbabwean contemporary society. The corpus of data comprised Shona popular songs released between 1988 and 2018 and down loaded from You-tube. The songs were transcribed, translated into English and metaphors identified and interpreted using a combination of the Pragglejaz Group (2007), Steen (2007) and Charteris-Black (2004) metaphor identification methods. Charteris-Black’
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Mudzanire, Benjamin. "An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe : a search for the contemporary leitmotifs." Thesis, 2016. http://hdl.handle.net/10500/22600.

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The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessme
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Dzvore, Andrew. "Music as life stories : an exploration of Leonard Karikoga Zhakata’s sungura lyrics on the socio-political context of Zimbabwe from 2000 to February 2009." Diss., 2018. http://hdl.handle.net/10500/24737.

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A content analysis of Leonard Karikoga Zhakata’s sungura music unpacks shared experiences of Zimbabweans during a decade of crises.Various musicians composed music pregnant with cultural meaning. These genres defied the ruling Zanu PF party‘s propaganda. The ZANU P.F. flagged enemy was imperialist history, whose characteristic was bankrupt in civil justice. Common sense ‘umunthu’ (‘Humaness)’ philosophy could have witnessed the ruling party stand by the people at the height of economic decline. This dissertation argued that the sungura genre became a formidable force. The music had dramatic ef
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Books on the topic "Songs, Shona"

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Centre for Advanced Studies of African Society, ed. The oral traditions of the Shona peoples of Zimbabwe: Studies of their folktales, songs, praise poetry and naming practices. Centre for Advanced Studies of African Society, 2012.

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Ėrgash, Ochilov, ed. Shoda-shoda marvarid: Ŭzbek khalq qŭshiqlari. Sharq, 2006.

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3

interviewer, Matsumura Hiroshi 1952, ed. Aikura Hisato ni kiku Shōwa kayōshi: Looking back on Japanese popular songs in Showa era. Artes, 2016.

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ʻUdomsīang, Prayūn. Rāingān phon kānwičhai chabab sombūn rư̄ang karanīsưksā nai kāndamnœ̄n ngān khǭng Klum Kasēttrakǭn Song Pư̄ai, Tambon Song Pư̄ai, ʻAmphœ̄ Kham Khư̄an Kœ̄o, Čhangwat Yasōthǭn: A case study on operation of Shong Puey Farmers' Association, Tambon Shong Puey, Amphur Khamkern Keow, Changwat Yasothon. Phāk Wichā Songsœ̄m, Kānkasēt, Khana Kasētsāt, Mahāwitthāyalai Khǭn Kǣn, 1999.

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Songs of the Shona. Independently Published, 2022.

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6

Maraire, Dumisani, Abraham K. Adzinyah, and Judity C. Tucker. Let Your Voice Be Heard! Songs from Ghana and Zimbabwe (Songs from Singing Cultures). World Music Pr, 1986.

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Performing Zimbabwe: A Transdisciplinary Study of Zimbabwean Music. University of Kwazulu-Natal Press, 2018.

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Sengo kyokasho kara kesareta Monbusho shoka. Goma Shobo, 1997.

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Kiyonobu, Toyoda. Omoide no kayo monogatari: Meiji kara Showa made. Chuo Ato Shuppansha, 1993.

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10

Masami, Yamazumi. Kodomo no uta o kataru: Shoka to doyo (Iwanami shinsho. Shin akaban). Iwanami Shoten, 1994.

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Book chapters on the topic "Songs, Shona"

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"2. Singing Shona." In Lion Songs. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822375425-003.

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Musiyiwa, Mickias, and Marianna W. Visser. "Of Drag and Push Democracies." In Advances in Electronic Government, Digital Divide, and Regional Development. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0081-0.ch003.

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This chapter interrogates political discourse in popular songs of Shona expression with a view to establish the nature of their evaluation of state performance in Zimbabwe in the period, 2000-2015. By analysing the themes and the language of the songs (verbal, nominal and other constructions and figurative language), we aim to demonstrate the extent to which the songs, composed and performed by pro-opposition artists, objectively assess the performance of the Zimbabwean state. We exclude songs of pro-state musicians for the reason that, their assessment of state functionality is pro-state and
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Sauti, Lazarus. "Music, Culture, and Personal Reconstruction." In Advances in Religious and Cultural Studies. IGI Global, 2024. http://dx.doi.org/10.4018/978-1-6684-8827-0.ch009.

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This chapter used a few of Mukudzeyi ‘Jah Prayzah' Mukombe's selected songs to analyse the relationship between music, culture, and personal reconstruction. These songs include ‘Ngwarira Kuparara', the title track from his 2011 album, and ‘Kwayedza', from his 2020 album Hokoyo, respectively. Jah Prayzah's artistic contributions were located and analysed using Asante's analytic Afrocentricity. In pushing Zimbabweans to be proud of their culture, Jah Prayzah exemplifies pride in one's identity, as this chapter has demonstrated. He exploits the creative potential of art to advance cultural norms
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Achieng' Akuno, Emily, Akosua Obuo Addo, Elizabeth Achieng' Andang'o, Andrea Emberly, Mudzunga Davhula, and Perminus Matiure. "Sub-Saharan African Musical Learning Communities." In The Oxford Handbook of Early Childhood Learning and Development in Music. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190927523.013.26.

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Abstract This chapter tackles the childhood music practiced in traditional and modern African settings with emphasis on teaching and learning as facilitated and enhanced by children’s songs and music-making. The spaces where music making takes place, the types of children’s music material, and the occasions during which children make music today are explored from the context of South Africa’s Venda, Zimbabwe’s Shona, Ghana’s Akan, and Kenya’s Luo communities and cultural practices, as representative people of Sub-Saharan Africa. The music practices are interrogated as elements of the African I
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Kipling, Rudyard. "In Error." In Plain Tales from the Hills. Oxford University Press, 2009. http://dx.doi.org/10.1093/owc/9780199538614.003.0024.

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They burnt a corpse upon the sand— The light shone out afar; It guided home the plunging boats That beat from Zanzibar. Spirit of Fire, where’er Thy altars rise, Thou art Light of Guidance to our eyes! Salsette* Boat-Song. There is hope...
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You might also be interested in the extended bibliographies on the topic 'Songs, Shona' for particular source types:
Journal articles
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