Muziki-Journal of Music Research in Africa最新文献_第10页

Understanding standpoints on women through a patriarchal voice: A study of Ayinla Omowura’s music 从男权的声音理解对女性的立场:小村Ayinla Omowura音乐研究

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1249170

Israel Ayinla Fadipe

引用次数: 1

The glorification of patriarchy in Paul Matavire’s music lyrics 保罗·马塔维尔歌词中对父权制的赞美

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1249160

Alfred Henry Makura

{"title":"The glorification of patriarchy in Paul Matavire’s music lyrics","authors":"Alfred Henry Makura","doi":"10.1080/18125980.2016.1249160","DOIUrl":"https://doi.org/10.1080/18125980.2016.1249160","url":null,"abstract":"ABSTRACT The late blind Zimbabwean musician, Paul Matavire, mesmerised his audience with a music genre whose lyrics addressed and continue to address contemporary social issues. His music occupies a prominent place in Zimbabwe’s music history and continues to portray the normative values of an Afro-traditional music genre. Three of his late-1980s hits, Dhiyabhorosi Nyoka (Diabolical snake), Taurayi zvenyu (Just speak please!) and Tanga Wandida (Love me first), collectively glorify patriarchy while portraying women as subservient to the masculine gender. In Dhiyabhorosi Nyoka, Matavire controversially uses biblical inter-textual allusions, humour, and sarcasm to demonstrate that Eve’s original sin was the genesis of the challenges besetting contemporary society (and especially men). He deploys a gendered perspective and demeaning language in other songs considered in this article. This article is grounded in a narrative agency perspective in discussing how Matavire’s music portrays and glorifies patriarchy through vocal characterisations. The selected songs’ lyrics are also examined to determine their implications for educational management, such as gender tolerance and respect.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"19 - 3"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1249160","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514208","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}

引用次数: 1

Learning from experience: Exploring the wellbeing of professional opera singers 从经验中学习:探索专业歌剧演员的幸福

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1182392

C. Cupido

引用次数: 4

Musics of the Free State: Reflections on a musical past, present, and future 自由国家的音乐:反思音乐的过去，现在和未来

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1256999

M. Jorritsma

引用次数: 0

Towards a model for musicians’ occupational health education at tertiary level in South Africa 建立南非高等教育阶段音乐家职业健康教育模式

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1182823

Bridget Rennie-Salonen, F. D. de Villiers

{"title":"Towards a model for musicians’ occupational health education at tertiary level in South Africa","authors":"Bridget Rennie-Salonen, F. D. de Villiers","doi":"10.1080/18125980.2016.1182823","DOIUrl":"https://doi.org/10.1080/18125980.2016.1182823","url":null,"abstract":"ABSTRACT The high statistics of musicians’ performance-related pain and injury are well documented. Research shows that tertiary level musicians’ occupational health education is imperative, and internationally more and more institutions are proactively incorporating innovative preventative educational programmes as part of their coursework. However, there are no courses in musicians’ health offered in any of the music departments of South African universities. In this article we will explore a model towards musicians’ occupational health education, based on the research done by Judy Palac, a specialist in performing arts medicine education. Her collaborative and interdependent model for a musicians’ health intervention has three components: health professionals diagnose and treat musicians with music-related physical or psychological disorders; music teachers provide pedagogy that is founded on sound musical, psychological and biomechanical principles; movement and somatic specialists provide knowledge of the body in music making. Our aim is to demonstrate how this framework is applicable in South Africa. Brief recommendations for possible implementation strategies in the South African context are made.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"130 - 151"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1182823","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514013","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}

引用次数: 6

Popular music and identity formation among Kenyan youth 流行音乐和肯尼亚青年的身份形成

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1249159

H. Wanjala, Charles Kebaya

{"title":"Popular music and identity formation among Kenyan youth","authors":"H. Wanjala, Charles Kebaya","doi":"10.1080/18125980.2016.1249159","DOIUrl":"https://doi.org/10.1080/18125980.2016.1249159","url":null,"abstract":"ABSTRACT The role of music in the formation and shaping of identity cannot be gainsaid since music represents an important cultural sphere where identities are affirmed, challenged, torn apart and reconstructed. Many young people use music and musicians that they admire to distinguish themselves from their peers. Thus, the choice of music among the youth often serves as an important marker of the character and nature of identity under construction. Music is meant to be fun, to brighten life, but the development and expression of musical taste can also be a serious statement about one’s identity. Pop music as a genre has had the greatest appeal and impact to the majority of the youth in Kenya. The influence of the medium and its artists on overall identity development is pervasive, complex, and far-reaching in its cultural significance. Grounded in both a historical analysis and a theoretical framework of identity, we interrogate how contemporary pop music shapes and influences identities among Kenyan youth. Using purposively selected contemporary popular music in Kenya, the article provides a textual exegesis of how music uses resources of history, language, and culture in the construction and performance of certain identities. To this end, the study analyses the strategic position of identity and the possibility of connecting it with conceptions of time, discourse, and history. This study provides new insights into how music – as a medium in which identities are constructed, performed, and contested – can be utilised meaningfully in shaping worldviews among Kenyan youth.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"13 1","pages":"20 - 35"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1249159","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514201","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}

引用次数: 3

Negotiating tonic sol-fa and staff notation: Two South African perspectives 谈判补品溶胶法和五线谱:两种南非观点

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1267424

Jeffrey Brukman, G. Gruber, Inge Kelly-Patterson, C. Lucia

引用次数: 1

Documenting the structures of musical silencing and audibility: The South African Broadcasting Corporation’s Central Record Acceptance Committee from 1986 to 1996 记录音乐沉默和可听性的结构:南非广播公司中央唱片接收委员会1986年至1996年

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1251004

Claudia Jansen van Rensburg

{"title":"Documenting the structures of musical silencing and audibility: The South African Broadcasting Corporation’s Central Record Acceptance Committee from 1986 to 1996","authors":"Claudia Jansen van Rensburg","doi":"10.1080/18125980.2016.1251004","DOIUrl":"https://doi.org/10.1080/18125980.2016.1251004","url":null,"abstract":"ABSTRACT The article explores the censorship of music under apartheid South Africa as practised by the state broadcaster, the South African Broadcasting Corporation (SABC). The article suggests that while no formal government structures were in place to censor music per se (government censorship structures were primarily concerned with the restriction and surveillance of literature, film and the media), the SABC was the most dominant censor of musical production and dissemination on the apartheid state’s behalf. The article argues, based on archival findings dating from 1986 to 1996, that the SABC’s Central Acceptance Committee (CRAC), tasked to assess the suitability of musical items for broadcast, attempted to align itself with government censorship procedures but was placed in an ambiguous position with the gradual change in political climate from approximately 1990 to 1996 (the year in which the committee was dismantled). The data collected does therefore not reflect a censorship system functioning securely in the years of ‘grand apartheid’, but rather one that was beginning to disintegrate under the pressures of political reform. In addition, the article argues that music, unlike literature (that was assessed in the light of its ‘artistic merit’), was censored without any particular aesthetic programme in mind.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"8 1","pages":"51 - 66"},"PeriodicalIF":0.3,"publicationDate":"2016-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1251004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60514135","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}

引用次数: 0

The role of context in the efficacy of professional development in the Creative Arts 背景在创意艺术专业发展效能中的作用

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1267429

A. D. de Villiers

引用次数: 0

Female voices from an Ewe dance-drumming community in Ghana: Our music has become a divine spirit 来自加纳Ewe击鼓舞蹈社区的女声:我们的音乐已经成为一种神圣的精神

IF 0.3

Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1256979

I. Madalane

引用次数: 1