Muziki-Journal of Music Research in Africa最新文献_第9页

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1328094

J. Pistorius

引用次数: 0

Modern African Classical Drumming: Contemporary African Drumming Practice for a Multicultural Music Curriculum 现代非洲古典鼓手：多元文化音乐课程的当代非洲鼓手实践

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1324250

D. Nkosi, C. van Niekerk

{"title":"Modern African Classical Drumming: Contemporary African Drumming Practice for a Multicultural Music Curriculum","authors":"D. Nkosi, C. van Niekerk","doi":"10.1080/18125980.2017.1324250","DOIUrl":"https://doi.org/10.1080/18125980.2017.1324250","url":null,"abstract":"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.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"123 - 139"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1324250","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44462559","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: 2

In memoriam: Dr Dave Galloway (1937–2017) 纪念：Dave Galloway博士（1937–2017）

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1351186

Marc Duby

引用次数: 0

The Transforming Idioms of South African Hymn Tunes: Diminishing Residues of Colonial Harmonic Systems and the Reinterpretation of Hymn Tunes 南非赞美诗曲调的转换习语：殖民调和系统的残余消解与赞美诗曲调解读

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1322472

Andrew-John Bethke

引用次数: 1

Adapting the Suzuki Method for Two Community Music Programmes in Atteridgeville, South Africa 将铃木方法应用于南非阿特里奇维尔的两个社区音乐项目

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2016.1245461

J. Meyer, Liesl van der Merwe

{"title":"Adapting the Suzuki Method for Two Community Music Programmes in Atteridgeville, South Africa","authors":"J. Meyer, Liesl van der Merwe","doi":"10.1080/18125980.2016.1245461","DOIUrl":"https://doi.org/10.1080/18125980.2016.1245461","url":null,"abstract":"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.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"102 - 78"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2016.1245461","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49184616","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

Metaphor, Identity and Ideologies in Igbo Folk Music 伊博民间音乐中的隐喻、身份与意识形态

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1322471

E. Igwebuike

{"title":"Metaphor, Identity and Ideologies in Igbo Folk Music","authors":"E. Igwebuike","doi":"10.1080/18125980.2017.1322471","DOIUrl":"https://doi.org/10.1080/18125980.2017.1322471","url":null,"abstract":"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.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"62 - 77"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1322471","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46327296","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

Editorial 社论

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1351184

Marc Duby

引用次数: 0

Journeys, Paths and Healing in Simphiwe Dana's Music 辛菲维·达纳音乐中的旅程、道路和治愈

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1309127

Gugu Hlongwane, Khondlo Mtshali

{"title":"Journeys, Paths and Healing in Simphiwe Dana's Music","authors":"Gugu Hlongwane, Khondlo Mtshali","doi":"10.1080/18125980.2017.1309127","DOIUrl":"https://doi.org/10.1080/18125980.2017.1309127","url":null,"abstract":"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.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"46 - 61"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1309127","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47383118","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

(A)tonality in the Compositional Language of Peter Klatzow: A Triadic Study with an Added Note (A)克拉佐夫作曲语言中的调性:一个附加音符的三合一研究

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Muziki-Journal of Music Research in Africa Pub Date : 2017-01-02 DOI: 10.1080/18125980.2017.1281591

Wilhelm Delport

{"title":"(A)tonality in the Compositional Language of Peter Klatzow: A Triadic Study with an Added Note","authors":"Wilhelm Delport","doi":"10.1080/18125980.2017.1281591","DOIUrl":"https://doi.org/10.1080/18125980.2017.1281591","url":null,"abstract":"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.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"14 1","pages":"26 - 45"},"PeriodicalIF":0.3,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2017.1281591","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42520372","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

Frontal lobe brain damage and the lived piano-playing experiences of an older adult 额叶脑损伤与老年人的生活钢琴演奏经历

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Muziki-Journal of Music Research in Africa Pub Date : 2016-07-02 DOI: 10.1080/18125980.2016.1182393

Corlia Fourie, Liesl van der Merwe, Inette Swart

引用次数: 0