Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1664063
Marc Duby
Welcome to the first issue of 2019, and once again let me confirm that my Unisa colleague Dr Thomas Pooley will be joining me as co-editor from this year on. It’s a great pleasure to welcome him on board and I look forward to our collaboration for the immediate future. In addition, allow me to welcome and introduce the new (and returning) board members for 2019 onwards as follows: Prof Innocentia Mhlambi and Dr Maria Suriano (University of the Witwatersrand), Dr Clorinda Panebianco and Prof Mageshen Naidoo (University of Pretoria), Dr Edward Lebaka and Mr Thapedi Mashianoke (University of South Africa), and Dr Roland Moses (Tshwane University of Technology).
{"title":"Editorial","authors":"Marc Duby","doi":"10.1080/18125980.2019.1664063","DOIUrl":"https://doi.org/10.1080/18125980.2019.1664063","url":null,"abstract":"Welcome to the first issue of 2019, and once again let me confirm that my Unisa colleague Dr Thomas Pooley will be joining me as co-editor from this year on. It’s a great pleasure to welcome him on board and I look forward to our collaboration for the immediate future. In addition, allow me to welcome and introduce the new (and returning) board members for 2019 onwards as follows: Prof Innocentia Mhlambi and Dr Maria Suriano (University of the Witwatersrand), Dr Clorinda Panebianco and Prof Mageshen Naidoo (University of Pretoria), Dr Edward Lebaka and Mr Thapedi Mashianoke (University of South Africa), and Dr Roland Moses (Tshwane University of Technology).","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"1 - 6"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1664063","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44103866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1606675
A. T. Ajidahun, H. Myezwa, Witness Mudzi, Wendy-Ann Wood
Abstract Exercise-based programmes have been used successfully in the prevention of musculoskeletal problems in sport and among performing artists. However, the components and the implementation protocol of the exercise programmes vary but the main focus is on managing the presenting symptoms of the musician. The aim of this study was to explore evidence concerning the components of exercise-based programmes in the management of musculoskeletal problems among musicians. A scoping review of peer-reviewed literature from the inception of associated databases up to June 2016 was conducted on exercise-based intervention for musculoskeletal problems among musicians. A total of 176 articles were identified and 12 met the inclusion criteria and were included in the study. The components of the prescribed exercises are focused on strengthening and stabilising the core. They include stretching exercises prior to performance to reduce strain to the musculoskeletal system and proprioceptive motor control exercises. As such, this study highlights the importance of exercise-based interventions in mitigating the severity of musculoskeletal problems.
{"title":"A Scoping Review of Exercise Intervention for Playing- Related Musculoskeletal Disorders (PRMDs) among Musicians","authors":"A. T. Ajidahun, H. Myezwa, Witness Mudzi, Wendy-Ann Wood","doi":"10.1080/18125980.2019.1606675","DOIUrl":"https://doi.org/10.1080/18125980.2019.1606675","url":null,"abstract":"Abstract Exercise-based programmes have been used successfully in the prevention of musculoskeletal problems in sport and among performing artists. However, the components and the implementation protocol of the exercise programmes vary but the main focus is on managing the presenting symptoms of the musician. The aim of this study was to explore evidence concerning the components of exercise-based programmes in the management of musculoskeletal problems among musicians. A scoping review of peer-reviewed literature from the inception of associated databases up to June 2016 was conducted on exercise-based intervention for musculoskeletal problems among musicians. A total of 176 articles were identified and 12 met the inclusion criteria and were included in the study. The components of the prescribed exercises are focused on strengthening and stabilising the core. They include stretching exercises prior to performance to reduce strain to the musculoskeletal system and proprioceptive motor control exercises. As such, this study highlights the importance of exercise-based interventions in mitigating the severity of musculoskeletal problems.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"30 - 7"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1606675","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43205091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1598279
W. Maguraushe
Abstract The potential of music to positively influence humans’ well-being has punctuated people’s lives from birth to death. This article explores the state of live music entertainment at Midlands State University main campus in Senga, Gweru. I set out to find out what entertainment opportunities are available for MSU students. Through questionnaires, interviews and focus group discussions, the study solicited students’ and staff members’ views on the leisure activities available on campus. I sought their suggestions on how on-campus entertainment could be improved. The findings show a critical need to reclaim students’ entertainment spaces in Zimbabwe’s tertiary education sector. University management needs to consider facilitating on-campus live music entertainment for students in order to avert the dangers they face when they seek entertainment from places off campus. Students are prone to arbitrary relationships, drug abuse, robbery and exorbitant costs when they visit night clubs in town for entertainment. The university stands to benefit financially if live music shows are managed and organised within its premises. Students’ responses indicate that the MBMT ensembles which currently provide music at formal gatherings need to be augmented with gigs that are purely intended for students’ entertainment. Joint shows with popular music artists recommended by students themselves can be arranged with management, re-aligning their ideology to view live music entertainment in a positive way as a fundraising enterprise. The conclusion proposes the inclusion of a live music entertainment officer in the Student Affairs Department to ensure that students’ entertainment needs are well-planned, managed and availed on-campus.
{"title":"Let the Music Bands Rock! Live Entertainment at Midlands State University Main Campus","authors":"W. Maguraushe","doi":"10.1080/18125980.2019.1598279","DOIUrl":"https://doi.org/10.1080/18125980.2019.1598279","url":null,"abstract":"Abstract The potential of music to positively influence humans’ well-being has punctuated people’s lives from birth to death. This article explores the state of live music entertainment at Midlands State University main campus in Senga, Gweru. I set out to find out what entertainment opportunities are available for MSU students. Through questionnaires, interviews and focus group discussions, the study solicited students’ and staff members’ views on the leisure activities available on campus. I sought their suggestions on how on-campus entertainment could be improved. The findings show a critical need to reclaim students’ entertainment spaces in Zimbabwe’s tertiary education sector. University management needs to consider facilitating on-campus live music entertainment for students in order to avert the dangers they face when they seek entertainment from places off campus. Students are prone to arbitrary relationships, drug abuse, robbery and exorbitant costs when they visit night clubs in town for entertainment. The university stands to benefit financially if live music shows are managed and organised within its premises. Students’ responses indicate that the MBMT ensembles which currently provide music at formal gatherings need to be augmented with gigs that are purely intended for students’ entertainment. Joint shows with popular music artists recommended by students themselves can be arranged with management, re-aligning their ideology to view live music entertainment in a positive way as a fundraising enterprise. The conclusion proposes the inclusion of a live music entertainment officer in the Student Affairs Department to ensure that students’ entertainment needs are well-planned, managed and availed on-campus.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"117 - 132"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1598279","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49503287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1605842
O. Barrier, C. Panebianco
Abstract The score of Luciano Berio’s Sequenza VII for solo oboe exhibits a strict and definite temporal space, yet most performers do not manage to perform the work within the prescribed time. The score is presented as a matrix with thirteen lines and columns and each line undergoes a temporal compression. The impetus of this practitioner-based study was driven by a need to find a method of performing the unusual time increments and to be as close as possible to the composer’s intent regarding the temporal grid. The aim of this study was to investigate and demonstrate a method of calculating and performing the intended duration of Sequenza VII so that the performance realises the absolute duration intended by Berio. Two methods were used to calculate the total duration of the composition. The result of the precise calculation of the predetermined total duration of Sequenza VII is six minutes and thirty seconds, and therefore refines the results of previous explorations of this subject by other scholars.
{"title":"Towards a Precise Calculation of the Total Intended Duration of Luciano Berio’s Sequenza VII for Solo Oboe","authors":"O. Barrier, C. Panebianco","doi":"10.1080/18125980.2019.1605842","DOIUrl":"https://doi.org/10.1080/18125980.2019.1605842","url":null,"abstract":"Abstract The score of Luciano Berio’s Sequenza VII for solo oboe exhibits a strict and definite temporal space, yet most performers do not manage to perform the work within the prescribed time. The score is presented as a matrix with thirteen lines and columns and each line undergoes a temporal compression. The impetus of this practitioner-based study was driven by a need to find a method of performing the unusual time increments and to be as close as possible to the composer’s intent regarding the temporal grid. The aim of this study was to investigate and demonstrate a method of calculating and performing the intended duration of Sequenza VII so that the performance realises the absolute duration intended by Berio. Two methods were used to calculate the total duration of the composition. The result of the precise calculation of the predetermined total duration of Sequenza VII is six minutes and thirty seconds, and therefore refines the results of previous explorations of this subject by other scholars.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"61 - 73"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1605842","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43845003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1598278
K. Quan-Baffour
Abstract The identity of any ethnic group is portrayed through cultural practices and traditions. The Bono of Takyiman in Ghana celebrate their annual Apo festival in April. The week-long festival celebration reaches its climax on the 8th day, which is a Friday. The festival was constituted by King Amoyaw Akumfi I, one of the founders of the Bono State around the 15th century AD. The king’s advisors revealed to him a planned revolt against the monarchy because of his authoritarian rule. To satisfy his subjects, he set a day aside annually for the people to voice out their grievances. Apo comes from the Akan word po (meaning “to reject”). Apo is the time the people of Takyiman are permitted to reject (po) bad governance, corruption, abuse and unacceptable behaviour of the king, chiefs and people in high places. During the festival, people masquerade, wear funny hats, headgear and cultural outfits to hide their identity as they parade through the main streets singing songs, some of which rebuke the king and his chiefs. The songs performed during the festival hold leaders accountable for their misdeeds. The leaders are subject to ridicule by the exposure of their corruption, misuse of state resources, immoral behaviour and abuse through folksongs. The opportunity for the Bono to expose bad governance peacefully is worthy of emulation by other ethnic groups. Participant observation was used to investigate the socio-religious importance of Apo songs in assisting community members to amend their ways for the achievement of social cohesion.
{"title":"The Socio-religious Significance of Songs Performed during Apo Festival at Bono Takyiman, Ghana","authors":"K. Quan-Baffour","doi":"10.1080/18125980.2019.1598278","DOIUrl":"https://doi.org/10.1080/18125980.2019.1598278","url":null,"abstract":"Abstract The identity of any ethnic group is portrayed through cultural practices and traditions. The Bono of Takyiman in Ghana celebrate their annual Apo festival in April. The week-long festival celebration reaches its climax on the 8th day, which is a Friday. The festival was constituted by King Amoyaw Akumfi I, one of the founders of the Bono State around the 15th century AD. The king’s advisors revealed to him a planned revolt against the monarchy because of his authoritarian rule. To satisfy his subjects, he set a day aside annually for the people to voice out their grievances. Apo comes from the Akan word po (meaning “to reject”). Apo is the time the people of Takyiman are permitted to reject (po) bad governance, corruption, abuse and unacceptable behaviour of the king, chiefs and people in high places. During the festival, people masquerade, wear funny hats, headgear and cultural outfits to hide their identity as they parade through the main streets singing songs, some of which rebuke the king and his chiefs. The songs performed during the festival hold leaders accountable for their misdeeds. The leaders are subject to ridicule by the exposure of their corruption, misuse of state resources, immoral behaviour and abuse through folksongs. The opportunity for the Bono to expose bad governance peacefully is worthy of emulation by other ethnic groups. Participant observation was used to investigate the socio-religious importance of Apo songs in assisting community members to amend their ways for the achievement of social cohesion.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"156 - 167"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1598278","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45683830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1629833
A. David Nkosi
Abstract Since 1994, the Pro Musica Theatre has run community music youth development projects which provide tuition in several wind and string instruments to previously disadvantaged youth from Soweto. Due to financial challenges experienced in 2009 caused by reduced funding, the Pro Musica Theatre decided to operate mainly as a receiving house of productions from outside. As a result of this situation, its music tuition project for youth from disadvantaged communities was discontinued. Soweto Theatre started to operate in 2012. The initially discontinued Music Tuition Project of the then Pro Musica Theatre was resuscitated and adopted by the Soweto Theatre under the new name of the Soweto Theatre Music Tuition Programme (and viewed as community engagement and audience development programme/strategy). However, it continued with the same old cohort of learners from the Pro Musica Theatre. One of the possible reasons for its adoption and resuscitation might be that most of its participants were from Soweto. This article explores how the Soweto Theatre Music Tuition Programme’s management style, administration processes, strategic development plan and funding strategy have affected the development of the programme between 2013 and 2016.
{"title":"Challenges Faced by the Soweto Theatre Music Tuition Programme 2013–2016: A Case Study of a Youth Music Development Programme","authors":"A. David Nkosi","doi":"10.1080/18125980.2019.1629833","DOIUrl":"https://doi.org/10.1080/18125980.2019.1629833","url":null,"abstract":"Abstract Since 1994, the Pro Musica Theatre has run community music youth development projects which provide tuition in several wind and string instruments to previously disadvantaged youth from Soweto. Due to financial challenges experienced in 2009 caused by reduced funding, the Pro Musica Theatre decided to operate mainly as a receiving house of productions from outside. As a result of this situation, its music tuition project for youth from disadvantaged communities was discontinued. Soweto Theatre started to operate in 2012. The initially discontinued Music Tuition Project of the then Pro Musica Theatre was resuscitated and adopted by the Soweto Theatre under the new name of the Soweto Theatre Music Tuition Programme (and viewed as community engagement and audience development programme/strategy). However, it continued with the same old cohort of learners from the Pro Musica Theatre. One of the possible reasons for its adoption and resuscitation might be that most of its participants were from Soweto. This article explores how the Soweto Theatre Music Tuition Programme’s management style, administration processes, strategic development plan and funding strategy have affected the development of the programme between 2013 and 2016.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"133 - 155"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1629833","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43121234","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-02DOI: 10.1080/18125980.2019.1611384
Michael Barrett, D. Vermeulen
Abstract This case study explored the perceptions of choristers singing in a multicultural university choir in South Africa and the personal value they associate with their choir participation. Data were collected through semi-structured individual interviews, focus groups, and a four-month period of observations of choir rehearsals and performances. This research highlights the multidimensional experiences of choral singing which can be fulfilling, abundant, as well as demanding at times. Emergent themes include music as a key indicator leading to personal-, resilience-, and social values. Findings indicate the significance of collective music making and the ways in which it influences the lives of participants, such as enjoyment, health benefits, achievement, commitment, accountability, a sense of belonging, and camaraderie. Choristers experience the choir environment as safe and conducive to forming important relationships. Although cultural integration takes place to a large extent, there are still barriers due to a variety of languages within a diverse group of choristers. Participants’ reflections reveal that choir participation is an ideal vehicle whereby social cohesion can be enhanced. Finally, the study highlights the importance of choral conductors and educators employing strategies that allow choirs within a multicultural environment to successfully transform in order to remain relevant to the needs of the singers within a diverse setting.
{"title":"Drop Everything and Sing the Music: Choristers’ Perceptions of the Value of Participating in a Multicultural South African University Choir","authors":"Michael Barrett, D. Vermeulen","doi":"10.1080/18125980.2019.1611384","DOIUrl":"https://doi.org/10.1080/18125980.2019.1611384","url":null,"abstract":"Abstract This case study explored the perceptions of choristers singing in a multicultural university choir in South Africa and the personal value they associate with their choir participation. Data were collected through semi-structured individual interviews, focus groups, and a four-month period of observations of choir rehearsals and performances. This research highlights the multidimensional experiences of choral singing which can be fulfilling, abundant, as well as demanding at times. Emergent themes include music as a key indicator leading to personal-, resilience-, and social values. Findings indicate the significance of collective music making and the ways in which it influences the lives of participants, such as enjoyment, health benefits, achievement, commitment, accountability, a sense of belonging, and camaraderie. Choristers experience the choir environment as safe and conducive to forming important relationships. Although cultural integration takes place to a large extent, there are still barriers due to a variety of languages within a diverse group of choristers. Participants’ reflections reveal that choir participation is an ideal vehicle whereby social cohesion can be enhanced. Finally, the study highlights the importance of choral conductors and educators employing strategies that allow choirs within a multicultural environment to successfully transform in order to remain relevant to the needs of the singers within a diverse setting.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"16 1","pages":"31 - 60"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1611384","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48912701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-03DOI: 10.1080/18125980.2018.1483207
Shepherd Mpofu, T. Nenjerama
ABSTRACT This paper analyses Raymond Majongwe’s and Brian Muteki’s music to investigate the different ways in which these two musicians narrate and imagine the post-2000 Zimbabwean nation. A narrative analysis is carried out of specific songs that address issues related to the nation. Since the late 1990s and through the 2000s Zimbabwe has experienced socio-economic and political challenges that have greatly affected its citizens, leading to a mass exodus to neighbouring countries and those further afield in America, Europe, and Australia, a phenomenon that has attracted international attention. This has also engendered various imaginations and contestations of the nation. The arts have played a critical intervening and mediatory role in this regard, and artworks such as sculptures, music, drama, and films have been produced that speak to contested narratives, visions, and versions of the nation. They imagine, reflect, and speak to different issues in society with regard to political, economic, and social questions affecting the everyday lives of ordinary citizens. Musicians sometimes celebrate, praise, narrate, critique, and proffer their “visions” and “versions” of the nation, in the process becoming fundamental in its construction, reflection, and depiction.
{"title":"Imaginations and Narrations of the Nation: The Music of Raymond Majongwe and Brian Muteki in the Identity Construction of Post-2000 Zimbabwe","authors":"Shepherd Mpofu, T. Nenjerama","doi":"10.1080/18125980.2018.1483207","DOIUrl":"https://doi.org/10.1080/18125980.2018.1483207","url":null,"abstract":"ABSTRACT This paper analyses Raymond Majongwe’s and Brian Muteki’s music to investigate the different ways in which these two musicians narrate and imagine the post-2000 Zimbabwean nation. A narrative analysis is carried out of specific songs that address issues related to the nation. Since the late 1990s and through the 2000s Zimbabwe has experienced socio-economic and political challenges that have greatly affected its citizens, leading to a mass exodus to neighbouring countries and those further afield in America, Europe, and Australia, a phenomenon that has attracted international attention. This has also engendered various imaginations and contestations of the nation. The arts have played a critical intervening and mediatory role in this regard, and artworks such as sculptures, music, drama, and films have been produced that speak to contested narratives, visions, and versions of the nation. They imagine, reflect, and speak to different issues in society with regard to political, economic, and social questions affecting the everyday lives of ordinary citizens. Musicians sometimes celebrate, praise, narrate, critique, and proffer their “visions” and “versions” of the nation, in the process becoming fundamental in its construction, reflection, and depiction.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"75 - 94"},"PeriodicalIF":0.3,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1483207","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44201053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-03DOI: 10.1080/18125980.2018.1533066
Lesibana Rafapa
Abstract While the mapping of continuities and differences between mainline and African Initiated Churches (AICs) has been carried out at national level, more work still has to be done on the Zion Christian Church (ZCC). In this article, I argue that an initially homogenising, determinist approach seeing a uniform rupture in all AICs from the Apostolic Faith Mission imported from Illinois in 1908 delayed adequate individual analyses of the AICs. I extend research on the ZCC specifically, by comparing and contrasting its recorded worship songs with those of other dominant AICs operating in its geographical vicinity. I intend to demonstrate that by juxtaposing this aspect of the ZCC with a similar phenomenon in the other ambient AICs in a geographical area, better determinate contours of existing knowledge about the ZCC will be achieved. While the Nazareth Baptist Church founded by Isaiah Shembe remains the first and among the biggest AICs, I exclude it from my comparison. First, I do so because adherents of this Church are most massively concentrated in KwaZulu-Natal Province (not the focus of this study), and not in the part of Limpopo Province that I focused on. Second, my view is that the AIC has received relatively adequate attention due to its earlier birth. Furthermore, my intention is not to conduct the study on a national scale, hence my inclusion of selected AICs due to their sharing of space with the ZCC in a specific place.
{"title":"Distinctive Identity in the Worship Music of the Zion Christian Church within the Category of African Initiated Churches","authors":"Lesibana Rafapa","doi":"10.1080/18125980.2018.1533066","DOIUrl":"https://doi.org/10.1080/18125980.2018.1533066","url":null,"abstract":"Abstract While the mapping of continuities and differences between mainline and African Initiated Churches (AICs) has been carried out at national level, more work still has to be done on the Zion Christian Church (ZCC). In this article, I argue that an initially homogenising, determinist approach seeing a uniform rupture in all AICs from the Apostolic Faith Mission imported from Illinois in 1908 delayed adequate individual analyses of the AICs. I extend research on the ZCC specifically, by comparing and contrasting its recorded worship songs with those of other dominant AICs operating in its geographical vicinity. I intend to demonstrate that by juxtaposing this aspect of the ZCC with a similar phenomenon in the other ambient AICs in a geographical area, better determinate contours of existing knowledge about the ZCC will be achieved. While the Nazareth Baptist Church founded by Isaiah Shembe remains the first and among the biggest AICs, I exclude it from my comparison. First, I do so because adherents of this Church are most massively concentrated in KwaZulu-Natal Province (not the focus of this study), and not in the part of Limpopo Province that I focused on. Second, my view is that the AIC has received relatively adequate attention due to its earlier birth. Furthermore, my intention is not to conduct the study on a national scale, hence my inclusion of selected AICs due to their sharing of space with the ZCC in a specific place.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"17 - 43"},"PeriodicalIF":0.3,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1533066","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42928403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-07-03DOI: 10.1080/18125980.2018.1482227
A. D. de Villiers, G. Agenbag
ABSTRACT In this study the researchers explore musical expressivity in choral singing. While expressivity is multifaceted, the scope of this article is the role of the choral conductor in developing expressivity during rehearsals. The theoretical framework informed the focus of the open-ended interviews used to collect data. The purpose of the interviews was to determine how three high school choral conductors defined expressivity and also how they developed expressivity during choir rehearsals. Research findings reflect that the choral conductors have different understandings of musical expressivity. It was also found that the choral conductors teach the choir repertoire in isolation from a broad music education. Furthermore, the research findings reveal that insufficient emphasis is placed on expressive singing during rehearsals.
{"title":"Music Expressivity in High School Choirs: The Case of Three Choirs","authors":"A. D. de Villiers, G. Agenbag","doi":"10.1080/18125980.2018.1482227","DOIUrl":"https://doi.org/10.1080/18125980.2018.1482227","url":null,"abstract":"ABSTRACT In this study the researchers explore musical expressivity in choral singing. While expressivity is multifaceted, the scope of this article is the role of the choral conductor in developing expressivity during rehearsals. The theoretical framework informed the focus of the open-ended interviews used to collect data. The purpose of the interviews was to determine how three high school choral conductors defined expressivity and also how they developed expressivity during choir rehearsals. Research findings reflect that the choral conductors have different understandings of musical expressivity. It was also found that the choral conductors teach the choir repertoire in isolation from a broad music education. Furthermore, the research findings reveal that insufficient emphasis is placed on expressive singing during rehearsals.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"15 1","pages":"16 - 3"},"PeriodicalIF":0.3,"publicationDate":"2018-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2018.1482227","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46742271","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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