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Relevant bibliographies by topics / Zulu (African people) – Music – History and criticism / Dissertations / Theses

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Dissertations / Theses on the topic 'Zulu (African people) – Music – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Xulu, Musa Khulekani. "The re-emergence of Amahubo song styles and ideas in some modern Zulu musical styles." Thesis, 1992. http://hdl.handle.net/10413/9503.

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Amahubo songs are at the centre of the traditional Zulu cultural, religious and political lives. Their age is often associated with the very "beginning" of things, when the very first Zulu people emerged from the bed of reeds. As musical items amahubo tend to be easily associated with the old, pre-colonial era when Zulus were in charge of their lives and their destinies. The performance contexts of amahubo songs are the wedding, the funeral of a King, Chief, induna, umnurnzane, war and other commemorative ceremonies. Amahubo are also called ceremonial music because of their association with th

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2

Ntombela, Sipho Albert. "Amasu asetshenziswa ngomasikandi besizulu emculweni wabo." Thesis, 2011. http://hdl.handle.net/10500/10622.

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This research on the subject is one of a few written in the medium of isiZulu. Further, it is one of the few conducted on masikandi music in this depth. It identifies and analyzes strategies used by Zulu masikandis in their music. The researcher in this study demonstrated that Zulu masikandis comprise males and females and that at present male masikandis are dominating this genre. Besides that, the study also revealed two categories of Zulu masikandis: those who recorded their music and those who could not. The researcher demonstrated also that Zulu masikandis use different effective strategi

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3

Manqele, Zandile Heavygirl. "Zulu marriage values and attitudes revealed in song : an oral-style analysis of Umakoti Ungowethu as performed in the Mnambithi region at KwaHlathi." Thesis, 2000. http://hdl.handle.net/10413/5670.

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4

Treffry-Goatley, Astrid. "Transmitting historical practices to present reality : a biography and anthology of Brother Clement Sithole's music and work with Inyoni Kayiphumuli Children's Home." Thesis, 2005. http://hdl.handle.net/10413/5114.

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This thesis is a detailed biographical review of Brother Clement Sithole's life (1). This thesis traces Brother Clement's musical development, his acquisition of indigenous musical knowledge, and his application of this knowledge to his present experience. The purpose behind my enquiry is to further understand the relationship between historical musical practices and the present world experienced by the individual. What is the impact of past indigenous musical performance on the performer? Is indigenous musical performance an effective way for displaced people to alleviate alienation and disj

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5

Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.

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In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots

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6

Canonici, Noverino Noemio. "Tricksters and trickery in Zulu folktales." Thesis, 1995. http://hdl.handle.net/10413/6350.

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Tricksters and Trickery in Zulu Folktales is a research on one of the central themes in African, and particularly Nguni/Zulu folklore, in which the trickster figure plays a pivotal role. The Zulu form part of the Nguni group of the Kintu speaking populations in sub-Saharan Africa. Their oral traditions are based on those of the whole sub-continent, but also constitute significant innovations due to the Nguni's contacts with the Khoisan peoples and to the history that has shaped their reasoning processes. Folktales are an artistic reflection of the people's culture, history, way of life, attitu

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7

Canonici, Noverino Noemio. "C.L.S. Nyembezi's use of traditional Zulu folktales in his Igoda series of school readers." Thesis, 1985. http://hdl.handle.net/10413/6253.

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8

Magwaza, Thenjiwe S. C. "Orality and its cultural expression in some Zulu traditional ceremonies." Thesis, 1993. http://hdl.handle.net/10413/6172.

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9

Buthelezi, Mbongiseni. "Kof' abantu, kosal' izibongo? : contested histories of Shaka, Phungashe and Zwide in izibongo and izithakazelo." Thesis, 2004. http://hdl.handle.net/10413/4214.

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In this dissertation, I argue that there is a pressing need in post-apartheid KwaZulu-Natal to re-assess the eighteenth- and nineteenth-century histories of the region from the perspectives of people whose ancestry was dispossessed and/or displaced in the wars that took place in that period, particularly those that elevated Shaka to dominance. I suggest that because of their retrospective manipulation by the vested interests of power politics, historical processes over the past two centuries, and in the last century in particular, have invested the figure of King Shaka and 'Zulu' ethnic identi

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10

Ncongwane, Sipho. "African materialist aesthetics in African literature with special reference to isiZulu texts." Thesis, 2018. http://hdl.handle.net/10500/25080.

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Text in English with abstracts in English, Afrikaans and isiZulu<br>This six-chapter study is a qualitative research work conducted within the Afrocentricity framework covering the application and testing of three newly found Afrocentric theories in African literature with special emphasis on isiZulu texts. The aim of this study is to test the application of Afrikan Humanism, Intsomi dream theory, and Africentricity theory. These theories were developed as a result of the debate between Eurocentric and Afrocentric scholars in literature and literary criticism. In this study the research comp

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11

Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.

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Text in English<br>This case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and wh

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12

Mathenjwa, L. F. (Langalibalele Felix) 1962. "The Zulu literary artist's conception of celestial bodies and associated natural phenomena." Thesis, 1999. http://hdl.handle.net/10500/18163.

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This study gives the Zulu's views and ideas about celestial bodies and associated natural phenomena and how they illustrate features in both the oral and written literature. It sketches various focussing mainly on The concentration is conceptions about the whole universe celestial bodies and natural phenomena. on the sun, moon, stars, thunder and lightning in poetry and prose both modern and traditional. Emphasis is on the fact that Zulus do not perceive celestial bodies as mere bodies but assign certain beliefs and philosophies to them. In examining these different conceptions, W

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13

Mathaba, Jetros Muzomusha. "Cattle praises of the Kwamthethwa area of Empangeni, Kwazulu-Natal as a reflection of some socio-cultural norms and values of the area." Thesis, 2000. http://hdl.handle.net/10413/5668.

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14

Mazibuko, Gugulethu Brightness. "Ucwaningo lokuqhathanisa amanoveli omlando ka R.R.R. Dhlomo kanye nezibongo zamakhosi akwazulu ezaqoqwa uNyembezi (1958)." Thesis, 2008. http://hdl.handle.net/10413/8641.

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This study aims to do a comparative analysis of the historical depiction of the Zulu kings namely: King Shaka, King Dingane, King Mpande and King Cetshwayo. In this study comparison is drawn between Dhlomo's historical novels and Nyembezi 's anthology of praise poetry. This research is based on Interpretive paradigm because it emphasizes a need for in-depth reading and analysis of the oral presentation. That is why qualitative research methodology has been employed because it has allowed the researcher to analytical skills on the content and interviews with community members. In the analysis o

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15

Matiure, Perminus. "The relationship between mbira dzavadzimu modes and Zezuru ancestral spirit possession." Thesis, 2009. http://hdl.handle.net/10413/475.

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16

Masasabi, Abigael Nancy. "Verbal-text as a process of compositional and improvisational elaboration in Bukusu Litungu music." Thesis, 2011. http://hdl.handle.net/10500/4939.

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Accompanying music files attached (mp3)<br>The Bukusu community is predominantly found in Bungoma district of Western Kenya. The Litungu is a word referring to a lyre among the Bukusu community. Music accompanied by this instrument is what is referred to as Litungu music. This music makes use of sung text and “verbal-text”/ silao-sikeleko (speech and speech-melody) and silao-sikeleko is the focal point of this study. Silao-sikeleko is performed in alternation with sung text in Litungu music. This study seeks to identify the cultural and compositional role of silao-sikeleko in the music.

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17

Sithole, Nkosinathi. "Performance, power and agency : Isaiah Shembe's hymns and the sacred dance in the Church of the Nazarites." Thesis, 2010. http://hdl.handle.net/10413/3455.

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This study examines the sacred dance in the Nazaretha Church and Isaiah Shembe's hymns as “agency” and not “response” (Coplan, 1994: 27). A number of studies on the Nazaretha Church and Isaiah Shembe posit that Shembe created his popular texts (especially the sacred dance) as a response to colonialism and the oppression of black people. In countering such a proposition I argue that in exploring the sacred dance we need to look at the motivation for members to participate in the dance. With that view in mind, I examine the sacred dance and the hymns as examples of a popular culture which is bot

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18

Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.

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PhD (African Studies)<br>Centre for African Studies<br>It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for o

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