Pub Date : 2017-01-02DOI: 10.1080/18125980.2017.1328094
J. Pistorius
{"title":"Eoan: Our Story","authors":"J. Pistorius","doi":"10.1080/18125980.2017.1328094","DOIUrl":"https://doi.org/10.1080/18125980.2017.1328094","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"140 - 143"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1328094","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41635650","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 : 2017-01-02DOI: 10.1080/18125980.2017.1324250
D. Nkosi, C. van Niekerk
ABSTRACT Drumming is one of the most common instrumental practices on the African continent, and forms part of various cultural music practices of different ethnic groups. In traditional African drumming societies, drumming expertise is acquired aurally-orally. As culture evolves, so does the transmission of indigenous African music. Traditional music undergoes adaptations to fit recontextualised environments, including classrooms. Modern African Classical Drumming (MACD) is a contemporary notated drumming practice based on traditional practices. It is informed by indigenous African musical arts theory and promotes complementary interdependence of performance arts in a holistic performance presentation. MACD can be easily adapted into classrooms, promoting both music literacy and traditional African instruments. Incorporating traditional music into modern classrooms for the promotion of multicultural music education, and the preservation and propagation of the musical heritage of African drumming to younger generations are some reasons for the evolution of MACD. Inevitably, this continuum demands adjustments and compromises to be made in favour of recontextualising MACD. Notation used in MACD does not include performance markings – but merely minimal rhythmic guidelines. In this article theoretical elements of creativity, analysis and performance have been drawn on to facilitate teaching and learning of this particular drumming genre. Score analysis and interpretation guidelines are designed to equip both novice teachers and learners to acquire basic MACD interpretation and performance skills.
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Pub Date : 2017-01-02DOI: 10.1080/18125980.2017.1351186
Marc Duby
{"title":"In memoriam: Dr Dave Galloway (1937–2017)","authors":"Marc Duby","doi":"10.1080/18125980.2017.1351186","DOIUrl":"https://doi.org/10.1080/18125980.2017.1351186","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"4 - 6"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1351186","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48346607","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 : 2017-01-02DOI: 10.1080/18125980.2017.1322472
Andrew-John Bethke
ABSTRACT The author examines how hymn tunes composed in South Africa in the second half of the 19th century were localised by the student body at the College of the Transfiguration in Grahamstown. The tunes are all found in the isiXhosa Anglican hymn book, but originally come from three sources, all linked to Christian missionary work in the Eastern Cape (Amaculo ase-Lovedale, Birkett's Ingoma and St Matthew's Tune Book). All the tunes were written to accompany hymns with trochaic metre, which isiXhosa usually displays naturally. The author finds that colonial elements of harmonisation (allied to western functional harmony) are radically diminished by the students, using local techniques such as skipping 3rds and localised westernisms. In other words, the colonial elements of harmonisation are completely reinterpreted by the students so as to produce music which is more uniquely Southern African.
摘要作者考察了19世纪下半叶在南非创作的赞美诗曲调是如何被Grahamstown变形学院的学生群体本地化的。这些曲调都在伊西科萨圣公会赞美诗中找到，但最初来自三个来源，都与东开普省的基督教传教工作有关（Amaculo ase Lovedale、Birkett的Ingoma和St Matthew的Tune book）。所有的曲调都是伴随着带有韵律的赞美诗而写的，伊西科萨通常表现得很自然。作者发现，学生们使用跳过第三人称和本地化西化等当地技巧，从根本上减少了和谐的殖民元素（与西方功能和谐相结合）。换句话说，学生们完全重新诠释了和谐的殖民元素，从而创作出更独特的南非音乐。
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Pub Date : 2017-01-02DOI: 10.1080/18125980.2016.1245461
J. Meyer, Liesl van der Merwe
ABSTRACT The Suzuki method has been used in the Atteridgeville community by two teachers since 2008 to teach the violin at two children’s homes. In using the method, the teachers realised that the needs and circumstances of the students in the Atteridgeville community music programmes led to a natural adaptation of the method. The purpose of this intrinsic case study is to explain the adaptation of the Suzuki method by the two teachers, Babette and Jane, in two community music programmes in Atteridgeville, Pretoria. Data were collected through interviews, observation and photographs, and the data were organised by means of ATLAS.ti 7. The data were analysed by using Susanne Friese’s NCT (Noticing, Collecting, Thinking) model. The six themes that emerged from the data were: 1) Applied Suzuki characteristics; 2) Socio-economic context; 3) Teacher as parent; 4) Student as parent; 5) Making provision for a large number of students; and 6) Challenges of introducing note reading. Suzuki teachers worldwide could benefit from this research by deciding whether – and if so, how – the results from this study are transferrable to their unique communities and contexts.
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Pub Date : 2017-01-02DOI: 10.1080/18125980.2017.1322471
E. Igwebuike
ABSTRACT Egwu Ekpili is a highly dynamic and symbolic Igbo folk music that responds to social and political tensions in Igbo land in particular, and Nigeria in general. It deploys conventional and conceptual metaphors to articulate salient Igbo identities and ideologies, as well as represent or critique political power structures and relations. Hitherto, studies on Igbo folk music have examined performance styles, compositions, and aesthetic and utilitarian values from the ethnomusicological and literary (socio-political satire) perspectives, with little attention to the role of metaphor as a tool for representing socio-political and cultural realities in the Igbo society – whereas Egwu Ekpili is replete with metaphorical expressions, perceived to be critical to the full understanding of this unique Igbo folk music genre. From a critical metaphor perspective, this study examines the strategic deployment of metaphor in representing identities and ideologies in selected songs of three popular and foremost Egwu Ekpili musicians, namely Gentleman Mike Ejeagha, Chief Akunwata Ozoemena Nsugbe and Chief Emeka Morocco Maduka. The study integrates ideas from Charteris-Black's Critical Metaphor Theory to explicate a typical Nigerian socio-political system and structure fraught with power struggle, dominance and embezzlement. Metaphors from five source domains of animal, journey, plant/food, war/conflict and family represent the ideological positioning and inclinations of the Igbo people.
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Pub Date : 2017-01-02DOI: 10.1080/18125980.2017.1351184
Marc Duby
{"title":"Editorial","authors":"Marc Duby","doi":"10.1080/18125980.2017.1351184","DOIUrl":"https://doi.org/10.1080/18125980.2017.1351184","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"1 - 3"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1351184","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44770448","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 : 2017-01-02DOI: 10.1080/18125980.2017.1309127
Gugu Hlongwane, Khondlo Mtshali
ABSTRACT This article explores the role of popular culture, especially music, in human rights struggles and global rights discourses. We highlight selected songs from Simphiwe Dana's albums, The One Love Movement on Bantu Biko Street (2006) and Kulture Noire (2010). The article centres on Dana's socially conscious music, which is replete with figurative use of streets, ways and journeys. According to African cosmologies, the journey motif is central to African narratives. In general, these narratives begin with a stability which is subsequently disturbed by imminent changes that obstruct the protagonists’ life plans, forcing them to leave their homes for exile. It is in exile that the protagonists receive counselling and training that prepares them for a return home. The protagonists’ journeys are therefore, healing journeys. Dana's music, which is influenced by the African cosmologies of Ayi Kwei Armah, Steve Biko and Frantz Fanon, follows a similarly circular pattern. The article discusses how Dana uses street symbolism in order to imagine healing as a journey to self and collective re-discovery after the material, cultural and spiritual dispossession caused by colonialism and apartheid.
本文探讨流行文化，尤其是音乐，在人权斗争和全球人权话语中的作用。我们从Simphiwe Dana的专辑《Bantu Biko Street上的一个爱的运动》(2006)和《culture Noire》(2010)中精选歌曲。这篇文章以Dana的社会意识音乐为中心，充满了对街道、道路和旅程的比喻性使用。根据非洲人的宇宙观，旅程主题是非洲叙事的核心。一般来说，这些故事以稳定开始，随后被即将到来的变化所扰乱，这些变化阻碍了主人公的生活计划，迫使他们离开家园流亡。正是在流亡期间，主人公们接受了辅导和训练，为回国做准备。因此，主人公的旅程是治愈之旅。Dana的音乐受到了Ayi Kwei Armah, Steve Biko和Frantz Fanon的非洲宇宙观的影响，遵循着类似的循环模式。这篇文章讨论了Dana如何使用街头象征主义，将治愈想象为在殖民主义和种族隔离造成的物质、文化和精神剥夺之后自我和集体重新发现的旅程。
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Pub Date : 2017-01-02DOI: 10.1080/18125980.2017.1281591
Wilhelm Delport
ABSTRACT This article adopts a triadic study to the exploration of (a)tonality in Peter Klatzow's compositional language. Firstly, academic scholarship on tonality, modality and atonality in the composer's oeuvre is summarised from a literary perspective. This is followed by an analysis of a more recent work, Sur une route toute blanche, dans un immense paysage (2010). An interview with Klatzow on questions concerning tonality constitutes the final section. It is concluded that the tonal practices of Klatzow's youth were replaced by avant-garde experimentation and atonal writing in the mid-1960s. The composer developed a unique voice in the late 1970s, characterised by the use of small intervallic cells, and the juxtaposition of tonal and atonal elements. A rapprochement of tonality in Klatzow's compositional language has been evident since the late 1980s, with a preference for modal and octatonic material, and without the complete abandonment of atonal practices. The compositional language of Sur une route toute blanche, dans un immense paysage can be considered neo-tonal in many respects. Consonant triads embellished with added notes are placed within non-functional, quasi-tonal frameworks. The compositional process is regulated by linearly combined pitch collections, while pedal notes, ostinatos and pitch emphases create a sense of tonal centrality. Klatzow believes that conventional tonal and modal practices are modified and extended into greater tonal complexes in his writing.
摘要本文采用三元分析的方法来探讨彼得·克拉佐作曲语言的音调。首先，从文学的角度对作曲家作品中的调性、情态和无调性进行了学术综述。接下来是对最近的一部作品《Sur une route toute blanche》的分析，该作品是一部巨大的作品（2010）。最后一节是对Klatzow关于音调问题的采访。结论是，在20世纪60年代中期，克拉索年轻时的音调实践被先锋实验和无调性写作所取代。这位作曲家在20世纪70年代末发展出了一种独特的嗓音，其特点是使用了小的间歇单元，并将音调和无调元素并置。自20世纪80年代末以来，Klatzow的作曲语言中的音调和解就很明显，人们更喜欢模态和八度音阶材料，而没有完全放弃无调性练习。Sur une route toute blanche，dans un grant paysage的作曲语言在很多方面都可以被认为是新音调的。带有附加音符的辅音三和弦被置于非功能的准音调框架中。作曲过程由线性组合的音高集合来调节，而踏板音符、重音符号和音高强调创造了一种音调中心感。Klatzow认为，在他的写作中，传统的音调和语气练习被修改和扩展为更大的音调复合体。
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Pub Date : 2016-07-02DOI: 10.1080/18125980.2016.1182393
Corlia Fourie, Liesl van der Merwe, Inette Swart
ABSTRACT This paper presents an interpretative phenomenological analysis (IPA) of the lived piano-playing experiences of an older adult who suffered frontal lobe brain damage. Semi-structured interviews and diary reflections were used to gain insight into the intrapersonal, relational, spiritual and therapeutic experiences of the participant, Annie. Emergent themes include being ill, loss, depression and anxiety, determination, yearning, will to live and spirituality. Annie’s experiences are discussed against the background of the additional impact of a frontal lobe brain injury on cognition, memory, ability to learn a new skill and personality. Furthermore, her experiences are also discussed in the light of logotherapeutic principles. The role of music and specifically of piano playing in general wellbeing and rehabilitation after brain injury is highlighted.
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