Academic literature on the topic 'Tsonga (African people) – South Africa – Music'
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Journal articles on the topic "Tsonga (African people) – South Africa – Music"
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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 (April 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 friendship relations and examine the ways in which people create reciprocal friendships that are a little “like kin.” We argue that the cross-cutting forms of collective personhood that underlie both Shona and Tsonga ways of being make it possible to form social bonds across national lines, such that mutuality can be made between people even where the wider social context remains antagonistic to “foreigners.”
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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (April 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 African musicians and concludes by situating the artistic process of South African artist William Kentridge in parallel to jazz improvisation.
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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 a century.
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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 (July 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 which combine modern work-related sources of identity with apparently backward-looking celebrations of traditional behaviour. The article examines the contention of performance theory that cultural expression does not merely reflect the predilections of established groupings of people but may provide a focus for the consolidation and identity of new ones.
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Lebaka, Morakeng Edward Kenneth. "Ethnographic Research of the use of Music in Healing as a Cultural Phenomenon in Greater Sekhukhune District Municipality, Limpopo Province in South Africa." DIALOGO 7, no. 2 (June 30, 2021): 60–66. http://dx.doi.org/10.51917/dialogo.2021.7.2.5.
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This study investigates the relationship between music and healing in the African context, as well as the relationship between music, culture, and identity. Since the traditional approach to music-making makes it a part of the institutional life of the Bapedi community, among the Bapedi people, the music itself was and is thought to enable communication with the living-dead, often inducing ancestral spirit possession, ‘causing the spirits to descend’. We observe in this study how traditional healers in the Greater Sekhukhune District Municipality express their emotions through music, and how they use music for regulating their emotions during malopo religious rituals. The main goal of the study was to examine how these emotions relate to traditional healers’ mental health and wellbeing. A range of data collection and analysis were employed in this study. The research employed a naturalistic approach and the primary source for data collection was oral interviews. The data was collected through video recordings of malopo religious rituals, interviews, and observations. Relationships between music, expression, and movement, as well as music, culture, and identity were elucidated. The results have demonstrated that during the dance itself, the healing power of the dance, is shown by both the trainees and their traditional healers, for example, during malopo ritual, after reaching a state of trance, they become spiritually healed. Villagers who witnessed the dance and participated only as an audience, also indicated a feeling of wellbeing after participating in the malopo ritual. The study has revealed that music is an integral part of the Bapedi culture and heritage. Furthermore, it was found that malopo ritual is a performance for appeasing possessing ancestral spirits such as those of the traditional healers and their trainees, which may cause illness if displeased, but on the other hand, may empower the traditional healers to execute the healing process. The research suggests that malopo ritual binds the people to their ancestors (the ancestral realm) and also provides healing therapy. Songs are sung and recited in order to create harmony between the living and the living-dead.
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Manan, Nuraini A. "Kemajuan dan Kemunduran Peradaban Islam di Eropa (711M-1492M)." Jurnal Adabiya 21, no. 1 (July 17, 2020): 54. http://dx.doi.org/10.22373/adabiya.v21i1.6454.
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Spain is more commonly known as Andalusia, the Andalusia comes from the word Vandalusia, which means the country of the Vandals, because the southern part of the Peninsula was once ruled by the Vandals before they were defeated by Western Gothia in the fifth century. This area was ruled by Islam after the rulers of The Umayyah seized the peninsula's land from the West Gothies during the time of the Caliph Al-Walid ibn Abdul Malik. Islam entered Spain (Cordoba) in 93 AH (711 AD) through the North African route under the leadership of Tariq bin Ziyad who led the Islamic army to conquer Andalusia. Before the conquest of Spain, Muslims had taken control of North Africa and made it one of the provinces from the Umayyad Dynasty. Full control of North Africa took place in the days of Caliph Abdul Malik (685-705 AD). Conquest of the North African region first defeated until becoming one of the provinces of the Umayyad Caliph spent 53 years, starting from 30 H (Muawiyah ibn Abi Sufyan's reign) to 83 H (al-Walid's period). Before being defeated and then ruled by Islam, in this region there were sacs which became the basis of the power of the Roman Empire, namely the Gothic Kingdom. In the process of conquering Spain there were three Islamic heroes who could be said to be the most effective in leading units of troops there. They are Tharif ibn Malik, Tariq ibn Ziyad, and Musa ibn Nushair. Subsequent territorial expansion emerged during the reign of Caliph Umar ibn Abdil Aziz in the year 99 AH/717 AD, with the aim of controlling the area around the Pyrenian mountains and South France. The second largest invasion of the Muslims, whose movement began at the beginning of the 8th century AD, has reached all of Spain and reached far to Central France and important parts of Italy. The victories achieved by Muslims appear so easy. It cannot be separated from the existence of external and internal factors. During the conquest of Spain by Muslims, the social, political and economic conditions of this country were in a sad state. Politically, the Spanish region was torn apart and divided into several small countries. At the same time, the Gothic rulers were intolerant of the religious beliefs adopted by the rulers, namely the Monophysites, especially those who adhered to other religions, Jews. Adherents of Judaism, the largest part of the Spanish population, were forced to be baptized to Christianity. Those who are unwilling brutally tortured and killed. The people are divided into the class system, so that the situation is filled with poverty, oppression, and the absence of equality. In such situations, the oppressed await the arrival of the liberator and the liberator was from Muslims. Warrior figures and Islamic soldiers who were involved in the conquest of Spain are strong figures, their soldiers are compact, united, and full of confidence. They are also capable, courageous, and resilient in facing every problem. Equally important are the teachings of Islam shown by the Islamic soldiers, like tolerance, brotherhood, and help each other. The attitude of tolerance of religion and brotherhood contained in the personalities of the Muslims caused the Spanish population to welcome the presence of Islam there. Since the first time Islam entered in the land of Spain until the collapse of the last Islamic empire was about seven and half centuries, Islam played a big role, both in fields of intellectual progress (philosophy, science, fiqh, music and art, language and literature) and the splendor of physical buildings (Cordova and Granada). The long history passed by Muslims in Spain can be divided into six periods. Spanish Muslims reached the peak of progress and glory rivaled the glory of the Abbasid sovereignty in Baghdad. Abdurrahman Al-Nasir founded the Cordova University. He preceded Al-Azhar Cairo and Baghdad Nizhamiyah.
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Campbell, Sandy. "The Swazi People by R. Van der Wiel." Deakin Review of Children's Literature 3, no. 3 (January 23, 2014). http://dx.doi.org/10.20361/g2qp5z.
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Van der Wiel, Renée. The Swazi People. Gallo Manor, South Africa: Awareness Publishing Group, 2012. Print.South Africa describes itself as “one rainbow nation going forward”, but within that rainbow there are eleven indigenous South African peoples. The Swazi People is one of eleven volumes in the African Cultures of South Africa series, which presents the cultures for readers at the upper elementary level. The other volumes include the cultures of The Khoikhoi, The Ndebele, The North Sotho, The San, The South Sotho, The Tsonga-Shangaan, The Tswana, The Venda, The Xhosa, and The Zulu.In The Swazi People, Renée Van der Wiel describes their arts and crafts, beliefs, clothes, history, houses, language, leaders, marriage, music and dance, recipes, and way of life. The book incorporates many Swazi words, which are listed in the glossary at the back of the book. For example, mahiya (cotton cloth), gogo (grandmother) and lobola (marriage gift, usually cattle) are all listed in the glossary.This volume is attractively produced and brightly coloured. It opens with a full-page map of South Africa that shows the historical movements of the Swazi people and highlights their homelands. Text and images are presented on alternate pages. The professional quality images are usually full-page and are either historical black and white photos or modern colour photos of Swazi people engaged in traditional activities. There is also an index, which improves the book's usefulness as an elementary research text.The text is written in age-appropriate language and deals with the subjects in sufficient detail that as an adult, I was able to learn from it. In general, the tone is objective and non-judgemental. For example, "[i]n 1973, King Sobhuzall and the Imbokoduo National Movement stopped all other political parties from taking part in elections in Swaziland. (…) After only five years of being a democracy, Swaziland became a country ruled by a king." Where there is bias present, it is more in the form of presenting the Swazi point of view: "But the Boers did not care about looking after the Swazi people – all they wanted was to get through to the sea without having to travel through British territory.".This sturdily bound volume is an excellent work and is highly recommended for public and elementary school libraries. Highly recommended: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.
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Mathebula, Mandla D., and Sekgothe Mokgoatšana. "The ‘polyonymous identity’ of the Hlengwe people of Zimbabwe and their struggle for a ‘collective proper name’." HTS Teologiese Studies / Theological Studies 76, no. 4 (November 30, 2020). http://dx.doi.org/10.4102/hts.v76i4.6192.
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The Hlengwe people of Zimbabwe constitute one of the four sections of the Hlengwe subgroup of the Tsonga – an ethnic group found in four Southern African countries that include Mozambique, South Africa, Zimbabwe and Swaziland. Before the 18th century, these sections constituted a single group that was resident in the Nyaka kingdom, south of Maputo, amongst the Southern Rhonga people. Here, they were known by the names ‘Hlengwe’ and ‘Tsonga/Rhonga’. Before then, they were known by names such as ‘Makomati’ and ‘Tonga/Thonga’. After years of internal and external pressures, the Hlengwe people migrated to the north and eventually settled as four separate sections in the three countries. Are the Hlengwe a distinct ethnic group or part of the Tsonga or Shangaan, or they embrace all these identities? This article investigates the ‘collective proper name’ of the Hlengwe people of Zimbabwe from their current ‘polyonymous identity’. The article further explores the complexity of identity formation and the politics of tribalisation, giving rise to assumed identities and sometimes ascribed and coerced identities in order to fulfil demands of power structures that name and label identities, resulting in exonyms used largely as appellation from above or outside. Although the study was heavily reliant on the available literature and archives, it also follows the oral historical methodology that privileges oral tradition and its associated subgenres of conversations and narratives. Most of the data were collected during the main researcher’s exploit of Zimbabwe, Mozambique and eSwatini whilst documenting the migration of the va ka Valoyi people.Contribution: This article contributes to complex debate of defining and locatin the Hlengwe as group within the post-colonial identities largely shaped by colonial boundaries. Should the be defined as a distinct group, or polysemously as a group with an amorphous identification.
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Dargie, Dave. "The Lumko Music Department and Cultural Heritage." Studia Historiae Ecclesiasticae 43, no. 2 (December 7, 2017). http://dx.doi.org/10.25159/2412-4265/2707.
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Until the 1960s music in the African language Catholic churches in southern Africa was confined to European (or European style) tunes set to African language texts. The music used suited neither the languages of the people nor their spiritual and emotional needs. Some church leaders, such as Archbishop Hurley of Durban, wished to see a change for the better. Certain missionaries tried to do something about it, in particular Oswald Hirmer and Fritz Lobinger, Bavarian missionaries working in the Xhosa area. The author had done music studies, and in his work in Zwelitsha parish, near King Williams Town, had used some of the music resulting from the work of Hirmer and Lobinger. The two missionaries gave him the chance to start a project for creating new church music in African styles by working with local church members in different areas. This went so well that the author was taken onto the staff of Lumko Pastoral Institute, with Hirmer and Lobinger. Over the period 1979 to 1989 the author was able to promote and record new church music in many languages in South Africa and its neighbours, plus a great deal of the traditional music of the region. In 1996 Anselm Prior, then director of Lumko, returned all the field recording originals to the author, giving him the opportunity to put together a significant contribution to the preserved music heritage of Southern Africa, including African traditional music and church music. The article is a report on the project and its results.
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Hunt, Pearl. "Losing my Western Baggage: An autobiographical case for relocating human rights within cultural studies discourse." Journal of Contemporary Issues in Education 2, no. 2 (January 6, 2008). http://dx.doi.org/10.20355/c5tg6v.
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What is it about music that allows people to transcend difference? Can what we learn about music’s abilities inform an enhanced conversation of difference and be applied to the theory of education and critical pedagogy? These questions form the basis of my inquiry into music and social change, an investigation that I have largely focused in North America during the twentieth century. I had the opportunity to further this inquiry and explore the structural roots of music while participating in an adult education conference at the source of Nile in Uganda in the year 2004.
The following personal narrative articulates my experiences in Africa and is an attempt to counter the dominant paternalistic hegemony often ascribed towards Africa and its people. In the course of actually losing my luggage, I became aware of Africa and the Africans I met as a place and people of generosity and discovery. In particular, I have been inspired by Africans’ writing both within the continent and in the Diaspora, continue to offer to both cultural studies theory and cultural practices. It is within the framework of cultural studies and human rights theory that I begin to identify a space in which music operates as a collective entity.
By building north-south and east-west dialogues, working within and outside the academy, African intellectuals, activists, and artists continue to enrich our cultural landscape. My writing then, is an initial attempt to demonstrate the need to develop a more inclusive critical pedagogy that will benefit from the work of African scholarship and practice.
Dissertations / Theses on the topic "Tsonga (African people) – South Africa – Music"
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Mkhari, B. E. "Nkanelo wa nkoka wa swiyila eka vutomi bya vaTsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1689.
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Bila, T. J. "Nkanelo wa matekanelo ya ndhavuko wa vaTsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1445.
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Nukeri, Elminah Reginah. "Nkanelo wa yin'wana ya mindhavuko ya ririmi ra Vatsonga - Machangana hi ku kongomisa eka swakunwa swa ndhavuko." Thesis, University of Limpopo (Turfloop Campus), 2012. http://hdl.handle.net/10386/1135.
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Thesis(M.A.(African Languages)) --University of Limpopo, 2012Ndzi ba mandla ndzi vuyelela eka wena Dokodela N.E. Nxumalo, muleteriwa mina eka dyondzo leyi. A wu ndzi helelanga mbilu hambiloko swi pfa swi gonya swiganga.A wu ndzi tiyisa nhlana hi masiku hinkwawo.Ndzi ri khanimambo Ndwandwe! Ndzi khensa Xikwembu Tatana wa hina loyi a nga yena a ndzi tumbuluxeke, a tlhela a ndzi nyika vutomi ni vutlhari byo humelerisa xitsalwana lexi hi mfanelo. Ndzi ngava ndzi endla xihoxo loko ndzo rivala wena nkatanga, Cakes Colbert Nukeri ku va u ndzi seketerile no ndzi komba rirhandzu eka ntirho lowu. Hambi leswi a ndzi pfa ndzi ku siya na vana, a wu ndzi helelanga mbilu. Vavanuna vo fana na wena va hlayiwa hi tintiho eka leyi misava. Xikwembu a xi ku katekise Gunela.Eka vana va mina Vialli, Sakhile naTalita, ndzi khensa nseketelo lowu mi ndzi kombeke wona. A mi pfa mi pfumala rirhandzu ra manana loko ndza ha yile ku ya handza vutivi.Ndza khensa vana va mina ku tiyisela ka n’wina. Eka vatswari va mina Tatana Samson na nghamu Selina N’wa-Malesa Ngoveni, ndzi pfumala marito yo khensa eka rirhandzu leri mi ndzi kombeke rona. Vamakwerhu Xitlhangoma, N’wa-Khada, Calvin, Charles na Mcgyver, ndzi khensa nseketelo wa n’wina vana va mhani. Na n’wina kokwana Midjadji, kokwana N’wa-Mongwe, kokwana N’wa-Hlabathi,kokwana N’wa-Juliyazi,Mhani Mphephu, Hahani N`wa Xitlhangoma na kokwani N`wa-Jakobo,ndzi ba mandla ndzi vuyelela. A mi nga karhalin loko ndzi tshama ndzi ri karhi ndzi mi vutisela swivutiso. Hosi a yi mi endle hi tintswalo. A ndzi mi rivalangi na n’wina mhaninkulu N’wa-July Mabunda na Sesi Ednah Mhinga. Mi ndzi khatsisile ndzima leyi. Ndzi ri kudya hi ku engeta. Ndzi hetelela hi ku khensa makwerhu Florence Motupa na Mixo Nkuna lava va nga vathayipi
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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.
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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.
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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.
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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.
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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
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Lewis, Mary Christine. "A cultural biography of Mantombi Matotiyana and Maxanjana Mangaliso : two contemporary African musicians." Thesis, Stellenbosch : University of Stellenbosch, 2001. http://hdl.handle.net/10019.1/52073.
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Thesis (MMus) -- University of Stellenbosch, 2001.ENGLISH ABSTRACT: This study aims to present a cultural monograph of two contemporary South African musicians, Mantombi Matotiyana and Maxanjana Mangaliso. Both musicians are highly regarded and respected for their exceptional musical abilities within their community and society, as well as abroad. This study furthermore wishes to make a contribution towards the establishment of 'experience-based' ethnomusicological field research in South Africa. In keeping with these aims, the material, which has been assembled from personal interviews with Matotiyana and Mangaliso, is in narrative. It is based on their personal memories, recollections and perspectives, as well as their views about and attitudes towards their songs, all aspects of composition, instruments and performance. The study therefore looks at the interaction between the lives and the songs of Matotiyana and Mangaliso and relates it to their relevant experiences. The musicological study of Matotiyana's songs further illuminates her particular style, as well as her contribution to contemporary Xhosa bow songs in general, especially within the broader context of Xhosa musical traditions.
AFRIKAANSE OPSOMMING: Hierdie studie poog om 'n kulturele monografie van die twee kontemporêre Suid- Afrikaanse musici Mantombi Matotiyana en Maxanjana Mangaliso voor te lê. Beide kunstenaars word as gevolg van hul buitengewone musikale bekwaamhede besonder hoog aangeskryf en gerespekteer, sowel binne hul eie breë gemeenskap asook in die buiteland. Terselfdertyd poog hierdie studie om 'n bydrae te maak tot die vestiging van die sg. "experience-based" tipe etnomusikologiese veldwerk in Suid-Afrika. Dienooreenkomstig word die inligting wat deur middel van persoonlike onderhoude met Matotiyana en Mangaliso versamel is, in verhaalvorm aangebied. Dit is gebaseer op hul eie herinneringe en perspektiewe, asook hulopvattings t.o.v. hul liedere, alle aspekte van hul komposisie, hul instrumente en opvoerings. Die studie kyk gevolglik na die wisselwerking tussen die twee musici se lewens en hul musiek en bring hul eie ervarings in hierdie verband ter sprake. Verder verskaf die analitiese studie m.b.t. die liedere van Matotiyana insig in haar unieke styl en bydrae tot eietydse Xhosa boogmusiek, veral binne die breër konteks en tradisies van Xhosa musiek in die algemeen.
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Mphaphuli, Murembiwa Julia. "Tsenguluso ya kubveledzele kwa ndeme ya nyimbo dza sialala dza Vhavenda." Thesis, University of Limpopo, 2013. http://hdl.handle.net/10386/1240.
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Thesis (MA. (African Languages)) --University of Limpopo, 2013Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.
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Mdaka, Tintswalo Sophie. "A comparative analysis of Western and African traditional churches among Vatsonga : a sociolinguistic study." Thesis, University of Limpopo (Turfloop Campus), 2013. http://hdl.handle.net/10386/1126.
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Magomani, Hlekulani Violet. "Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga." Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1795.
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Thesis (M .A. (African Languages)) -- University of Limpopo, 2014This research “Nxopaxopo wa tinsimu ta vanhwanyana va xikhale va Vatsonga wu kongomisa eka manghenelo, xitatimendhe xa xipiqo, xikongomelo, nkoka wa maendlelo ni tinhlamuselo ta matheme lama nga tirhisiwa” deals with path which was paved by young girls of the older generations before married. In our discussion in this research I will touch some few things about their songs like the teaching of the nation, good behaviour for themselves even as adults and culture in totality etc. The other thing is language which the girls used when performing their songs. This research consists of six chapters. Chapter 1: It outlines the research proposal as follows. The introduction, statement of problem, aim of the study, the significance of the research, definition of terms, methods used and literature review. Chapter 2: This chapter explains the upbringing of young girls of the olden generation. Secondly, it outlines the stages that they undergo and the relationship between these stages. Furthermore it brings forth norms and values to be followed when these girls get married. Chapter 3: The chapter deals with the analysis of the chosen songs by young girls of the olden generations. Emphasis is based on the sense of the poem and the usage of figurative language. Chapter 4: Firstly it deals with the meaning of the word “theme”. It also outlines the theme of young girls of olden generations as per their varying categories, involves life in general, like unfaithfulness to their brother in law, love one another, for the love of culture etc. Chapter 5: Deals with the findings which this research discovered about the songs of the young girls of the olden generations. It also deals with the suggestion and recommendations. Chapter 6: It provides a list of various references used in this research
Books on the topic "Tsonga (African people) – South Africa – Music"
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Nightsong: Performance, power, and practice in South Africa. Chicago: University of Chicago Press, 1996.
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Sound of Africa!: Making music Zulu in a South African studio. Durham: Duke University Press, 2003.
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Erlmann, Veit. The early social history of Zulu migrant workers' choral music in South Africa. Berlin: Das Arabische Buch, 1990.
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Sonic spaces of the Karoo: A groundbreaking study of music in an ethnically marginalized South African community. Philadelphia: Temple University Press, 2011.
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Venda children's songs: A study in ethnomusicological analysis. Chicago: University of Chicago Press, 1995.
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Erlmann, Veit. Nightsong: Performance, power and practice in South Africa. University of Chicago Press, 1995.
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Erlmann, Veit. Nightsong: Performance, Power, and Practice in South Africa. University of Chicago Press, 2001.
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Music and Social Change in South Africa: Maskanda Past and Present. Temple University Press, 2014.
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Meintjes, Louise. Sound of Africa: Making Music Zulu in a South African Studio. Duke University Press, 2003.
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Meintjes, Louise. Sound of Africa!: Making Music Zulu in a South African Studio. Duke University Press, 2003.
Find full textBook chapters on the topic "Tsonga (African people) – South Africa – Music"
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Singh, Shawren. "HCI in South Africa." In Encyclopedia of Human Computer Interaction, 261–65. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-562-7.ch041.
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South Africa is a multi-lingual country with a population of about 40.5 million people. South Africa has more official languages at a national level than any other country in the world. Over and above English and Afrikaans, the eleven official languages include the indigenous languages: Southern Sotho, Northern Sotho, Tswana, Zulu, Xhosa, Swati, Ndebele, Tsonga, and Venda (Pretorius & Bosch, 2003). Figure 1 depicts the breakdown of the South African official languages as mother tongues for South African citizens. Although English ranks fifth (9%) as a mother tongue, there is a tendency among national leaders, politicians, business people, and officials to use English more frequently than any of the other languages. In a national survey on language use and language interaction conducted by the Pan South African Language Board (Language Use and Board Interaction in South Africa, 2000), only 22% of the respondents indicated that they fully understand speeches and statements made in English, while 19% indicated that they seldom understand information conveyed in English. The rate of electrification in South African is 66.1%. The total number of people with access to electricity is 28.3 million, and the total number of people without access to electricity is 14.5 million (International Energy Agency, 2002). Although the gap between the “haves” and “have-nots” is narrowing, a significant portion of the South African population is still without the basic amenities of life. This unique environment sets the tone for a creative research agenda for HCI researchers and practitioners in South Africa.
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Makhado, Mashudu Peter, and Tshifhiwa Rachel Tshisikhawe. "How Apartheid Education Encouraged and Reinforced Tribalism and Xenophobia in South Africa." In Advances in Religious and Cultural Studies, 131–51. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-7099-9.ch008.
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Apartheid like colonialism was anchored on the divisions of African people according to ethnic and tribal orientations among others. The idea of the South African apartheid government was to build tribal exceptionalism and superiority which would make one tribe feel more superior than the other. A Zulu would feel better human than a Sotho, while a Venda would feel the same over a Tsonga, for example. This is a qualitative desktop study investigating how apartheid education was used to fuel tribalism and xenophobia in South Africa.
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Sacré, Robert. "Black Music USA: From African to African American Music." In Charley Patton, 3–12. 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.