Dissertations / Theses: 'African music'

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Nkabinde, Thulasizwe. "Indigenous features inherent in African popular music of South Africa." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.

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A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997.
The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.

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Drummond, Urvi. "Music education in South African Schools after apartheid : teacher perceptions of Western and African music." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6298/.

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The South African classroom music curriculum has changed in the twenty years since the transition from apartheid to democracy in 1994. The broad imperative for the main music education policy shifts is a political agenda of social transformation and reconciliation. Policy aims are to include many more learners in the music classroom by promoting the study of diverse musics that were previously marginalised and by providing a framework for music education that allows learners to progress at their own pace. This research study investigated to what extent music teachers are able and likely to fulfil the requirements of the new, post-apartheid curriculum, with particular reference to the National Curriculum Statement music policies (NCS). Specifically, it considered whether teachers have a particular allegiance to Western and/or African music. Twelve South African music teachers were interviewed for this purpose. The latest music curriculum revision in the form of the Curriculum and Assessment Policy Statement (CAPS, 2011) has modified knowledge content by streaming music into three distinct but parallel genres. In addition to Western music, the curriculum incorporates Indigenous African music and Jazz as representative of the diverse cultural interests of South Africans. An analysis of post-apartheid music policy documents draws on post-colonial thought to frame the affirmation of African music by giving it a prominent place in the curriculum. In order to appreciate the role different musics are expected to play in the curriculum, the work of prominent ethnomusicologists provides a means to conceptualise the range of emerging musics, including World Music, Global Music and Cosmopolitan Music, and their differences. For teachers to comply with the policy directive to teach different musics to diverse learners, they are required to expand their knowledge and adapt their teaching styles to achieve these aims. This study highlights a lack of resources and of structured teaching support through continuing professional development as well as a need for policy to give clearer direction in the way it instructs teachers to execute the changes demanded of them in the curriculum. An investigation of teachers’ own musical education and their views of the new curriculum reveals that they are willing to teach a variety of musics. Their perceptions of the differences between Western and African music illustrate a reflective understanding of the challenges they face in this undertaking.

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Olson, Ted S. "African American Music in Southwest Virginia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5514.

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Excerpt: African Americans have lived in Southwest Virginia since the early eighteenth century, and their traditions—their verbal folklore, customary folklife, and material culture—have long influenced cultural life in Southwest Virginia. African American music has been particularly impactful in the region, yet many people today are unaware of the extent of that influence.

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Kwami, Robert Mawuena. "African music, education and the school curriculum." Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.

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Coetzee, Paulette June. "Performing whiteness; representing otherness : Hugh Tracey and African music." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1016502.

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This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.

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Haecker, Allyss Angela. "Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3461.

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De, Beer Rudolf. "The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/d1011781.

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This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.

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Fisher, Alexander. "Music and modes of address in African Cinema." Thesis, Ulster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529563.

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McConnachie, Boudina. "Indigenous and traditional musics in the school classroom : a re-evaluation of the South African Indigenous African Music (IAM) curriculum." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/6806.

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Musical ideals set by European standards and values, entrenched through colonial oppression and promoted by the continued veneration of Western culture need to be re-evaluated. Despite the intention of the ANC government, through the Department of Basic Education's Curriculum and Assessment Policy Statement music curricula, to integrate Indigenous Knowledge and musics into the South African classroom, evidence shows that opportunities to do so are not seized. With reference to the proclaimed values of an African sensibility in the model of the South African music education curriculum, the history of its development and the current pedagogical movement towards transformation in the production of knowledge and the inclusion of Indigenous Knowledge (IK), this thesis questions why teachers in government schools in South Africa are not executing the Indigenous African Music (IAM) syllabus in the CAPS FET music curriculum. Taking the history of music education and the development of curriculum models and frameworks into account, it interrogates what strategies could improve the application of the current music curriculum in government schools in South Africa. These questions are addressed in the thesis by way of a discussion of the music curriculum and what its praxis in the classroom reveals about its efficacy, through observations and personal experiences, the observations of teachers and student teachers, a comparison with the experience in Zimbabwe, and an analysis of the music curriculum as it is currently devised and implemented. Straddling three methodological approaches, namely the ethnographic, the autoethnographic and the action research approach this study finds that the CAPS FET music curriculum does provide realistic opportunities to engage with African Indigenous and traditional music. This, however, is dependent upon the training of the teacher, facilities available in the classroom and the prior knowledge of the learner. A fundamental flaw of this curriculum is the approach to practical assessment of Indigenous and traditional African musics and the lack of assessment criteria and practical guidelines. In addition, the findings suggest that the fault regarding implementation of the curriculum lies in the training of students (who become teachers) at tertiary level, where an integrated approach to skills development regarding Indigenous African music is suggested.

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Rosner, Elizabeth. ""It's the Real Thing": The Marketing of an African Identity in a West African Dance Class." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1336761459.

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Ketema, Raymok. "ERITREAN SOUNDS OF RESISTANCE: A HISTORICAL, POLITICAL, and MUSICAL ANALYSIS ON THE REVOLUTIONARY WAR, 1960s to 1990s." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1524148034538656.

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Nkosi, A. D. "Modern African classical drumming : a potential instrumental option for South African school Music curriculum." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43292.

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The Curriculum and Assessment Policy Statement or CAPS (which is the modified extension of the National Curriculum Statement policy), Music learning area, gives an option for Music learners to follow the Indigenous African Music (IAM) stream. This caters for them to be examined in African instruments. Currently, there are no available prescribed instrumental curricula in any IAM instrumental practices that learners can follow should they choose the IAM stream. Therefore, this research was prompted by the need for graded curriculum in IAM instruments for Music learners at the Further Education and Training (FET) level. This quantitative research focuses on the incorporation of contemporary African instrumental music practices in the modern Music curriculum as demanded by current trends, multiculturalism and multi‐ethnic societies with their emerging modern culture which to an extent nevertheless still embrace old traditions. The research is underpinned by the theoretical framework of multicultural music education. This study comprises two sections. Section one analyzes the dilemma that the South African Music curriculum faces when incorporating indigenous African instruments for examination at FET level and poses questions on how and which instrumental practices can be part of the possible solution. It revisits the epistemology of traditional African drumming and investigates how some of the traditional drumming practices have changed and are practised in the contemporary context. Section two introduces a contemporary African instrumental practice whose development is rooted in the generic traditional idioms of African drumming. This contemporary drumming style is not tied to a specific ethnic group but rather a creative continuum of African traditional drumming. This practice is explored as a potential instrumental option for the South African Music curriculum (IAM stream); through conducting of training workshops, progress survey and the evaluation of the implementation process of the pilot graded model curriculum. Lastly, pedagogical instructions on teaching, learning and evaluation of this contemporary drumming practice are provided.
Thesis (DMus)--University of Pretoria, 2013.
lk2014
Music
DMus
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Langeveldt, Mareli. "Music, music therapy and identity : investigating how South African children from socio-economically deprived communities identify with music." Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/31443.

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This dissertation profiles the way in which primary school children from socio-economically deprived communities in South Africa, specifically Heideveld and Eersterust, identify with music. The purpose of the study is to investigate how these children do, think, feel and talk about music and to explore the implications thereof for music therapist working in these specific or similar South African communities. The sentence completion responses of the children conveyed two ways in which they view identifying with music. The first is identifying with music and the second is using music as a tool through which one can identify with others. The way in which the children identify with music or through music in music therapy sessions, influences the therapeutic relationship as well as clinical interventions of the music therapist. Therefore, music therapists need to be sensitive to the way in which clients identify with music.
Dissertation (MMus (Music Therapy))--University of Pretoria, 2005.
Music
MMus (Music Therapy)
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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.

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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).

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Stephenson, Mark H. "African music in the Methodist Church of Southern Africa : a case study in the Western Cape." Master's thesis, University of Cape Town, 1985. http://hdl.handle.net/11427/15673.

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This study is an appraisal of African Music within the Methodist Church of Southern Africa with particular reference to the Western Cape. I develop and amplify a pilot study 4 in order to provide a model for further research into African Music in the Methodist Church of Southern Africa. The subject has a certain topical relevance. Many Churches are not only producing new hymn books but are also experimenting with new ways of communicating the gospel through music. 5 More recently, the Africanisation committee of the C.U.C. (Church Unity Commission) directed by its convenor the Rev. E. Baartman (President Elect of the Methodist Church of Southern Africa) recommended that the C.U.C. co-ordinate research into "Black theology, African liturgy and furthermore, at the Fifth Annual Symposium on Ethnomusicology, 30 August 1984 - 1 September 1984, Alain Barker reported that "while all agreed that the international perspective the Conference provided was of great value, serious debate on how the subject should be dealt with in this country was limited to a brief discussion at the end" . Some critics felt more practical involvement in African Music should have been a part of the Conference. In other words an academic assessment needs to be grounded in practice. (a) My purpose is to determine the meaning of African Music in the Methodist Church of Southern Africa, and to show that African Music is a contact point between Church and Culture, facilitating cultural liberation. (b)I have erected a framework to order the results of my research. It may be claimed that the method of approach is in many ways novel. Field work, recording and documentation on African Music in the Methodist Church of Southern Africa has to my knowledge never been published. This research is an attempt to make a start. We need to listen to Africa. As a fourth generation Methodist Minister, where else could I begin other than in the Methodist Church? As can be expected in an exploratory study, these findings point to areas which need more investigation. African Music articulates the most viable approach to respond to both the demands of the Gospel and African Culture. The aim of this study is to promote and teach people an appreciation of African Music within the broader context of the Church. (c) In the light of this, I have attempted four things: (i) African Music in the Methodist Church of Southern Africa is located in its broader African context by an examination of the roots of the Church within the Protestant tradition. (ii) Oral evidence was collected as a basis for critical reflection. (iii) A critical reflection is undertaken on some of the issues implicit in the words and music. (iv) An attempt is made to suggest ways and means of developing African Music within the life of the Church.

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Pewa, Sibusiso Emmanuel. "Song, dance, and worship in the Zionist Christian Churches: an ethnomusicological study of African music and religion." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/1304.

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A dissertation submitted to the Faculty of Arts in partial fulfilment of the requirements for the degree of Master of Music in the Department of Music at the University of Zululand, South Africa, 1997.
The aim of this study is to investigate the relationship between music and worship in contemporary African society. Since there are various forms of activities that constitute the African society, the study will focus on the Zionists' Church music and worship from an ethnomusicological point of view.

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Taylor, Corey Michael. "Ambiguous sounds African American music in modernist American literature /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 253 p, 2009. http://proquest.umi.com/pqdweb?did=1654487481&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Kelley, Michael Alexander. "Adaptation and creativity in Montreal's West African music scene." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/45676.

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This thesis is an ethnography of Montreal’s West African music scene. Through participant observation, interviews, and research I provide a view of how African musicians have adapted their music to a new environment. Special focus is given to how African music was constructed and perceived by African performers, though attention is also paid to their Québecois counterparts. I discuss how an array of interpretations about the meaning and form of African music co-exists, forming part of a larger musical discourse that gives shape to a style of African music unique to Québec. I first provide an overview of the African music scene, describing its major venues, events, and performers. Next, I describe the style of African music that takes place there, an adaptation of Malian and Guinean popular music. I also describe the efforts of Québecois musicians to reimagine African music for their own use, offering up a very different interpretation than that given by Africans in Montreal. Through collective interpretation, African and Canadian musicians in Montreal have built an innovative and interesting music scene that is still developing. This scene relies on a productive discourse between African musicians, Québecois performers of African music, and the larger audience for African music in Montreal.

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Vincs, Robert, and robert vincs@deakin edu au. "African heart, eastern mind: the transcendent experience through improvised music." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.121703.

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Bae, Yoo Jin. "The distribution, construction, tuning, and performance technique of the African log xylophone." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1399554107.

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Montocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.

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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.

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Bergseth, Heather A. "Music of Ghana and Tanzania: A Brief Comparison and Description of Various African Music Schools." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1312917493.

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Erickson, Clipper. "The six piano suites of Nathaniel Dett." Thesis, Temple University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3623149.

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The six piano suites of R. Nathaniel Dett (1882-1943) constitute a substantial body of piano music that illustrates the musical development of an important, but historically neglected American musician. Dett was a seminal figure in the preservation and study of spirituals, both as a writer and choral leader, and as a great teacher and inspirer of African-American musicians in the generations that followed him. Educated at Oberlin and Eastman, he was lauded as the first American composer to fuse Negro folk music with European art music tradition.

The writing of a series of like-genre works over a composer's lifetime, reflecting stylistic changes and a deepening world view, is a special event in the history of keyboard music. Unfortunately, Dett's piano music is rarely performed except for the second of the suites, In the Bottoms. Although his importance to African-American musical history is generally acknowledged by musicologists, his works for piano have remained largely unexplored by performers.

Dett's eclectic pursuits included poetry, the Rosicrucian Society, and religion. This study explores the connections between the suites and other musical styles and traditions, Dett's many extra-musical interests, and his performing life. It also offers some possible explanations for the relative lack of attention received by his piano music.

This study incorporates research from readily-available sources, as well as the Nathaniel Dett archives at the Niagara Falls New York Public Library and Hampton University. The first three chapters give an overview of Dett's style and influences, as well as a description of how his musical language developed from his first suite, Magnolia (1912), to his last, Eight Bible Vignettes (1941-43), written at the end of his life. Each suite is examined individually in detail in the following six chapters. It is hoped that this work will stimulate appreciation of Dett's piano music and lead to more frequent performances. Its goal is to give to the reader the same sense of admiration and joy that the author's exploration of these works has given him.

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Human, René. "Contextualizing African music in choral performance through the process of translation as negotiation." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-05052008-080850/.

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Nicolau, Maria da Conceição dos Santos. "A fúria dos tambores: music in African post-colonial literaturea música na literatura pós-colonial Africana." Master's thesis, Universidade de Aveiro, 2004. http://hdl.handle.net/10773/17761.

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Mestrado em Estudos Ingleses
The following dissertation attempts to discuss the presence of music (from indirect to more direct references) in representative texts of African Post- Colonial literature, in particular, Chinua Achebe’s Things Fall Apart, Ngũgĩ wa Thiong’o’s Devil on the Cross, and Paulina Chiziane’s Niketche. This dissertation attempts to contextualise the use of music in three African countries, with respect to the historical, social, and cultural backgrounds, as well as to provide an approach to general musical practice and significant aspects of the way music is present in the three novels individually. It is necessary to understand and recognize that music is not only interesting in the analysis of African cultures, but also when analysing certain literary works. I intend to characterise and valorise music from literature or vice-versa. One of the aims of this dissertation is to approach how, through the presence of musical references, we can understand the novel and the cultures of the country portrayed. Focus has often been made on other cultural aspects in the study of these novels, generally with music being dealt with sketchily if at all. These books thus raise a number of questions about human beings, society, and cultural practices, demonstrating the extent to which different aspects of a given society and music are interwoven in complex ways. It is in this interdependence between music and society that we find a point of analysis of different African cultures as of the novels in question.
A presente dissertação procura discutir a presença da música (desde referências indirectas até às mais directas) em textos representativos da literatura Pós-Colonial Africana, nomeadamente, Things Fall Apart de Chinua Achebe, Devil on the Cross de Ngũgĩ wa Thiong’o e Niketche de Paulina Chiziane. Esta dissertação pretende contextualizar o uso da música em três países Africanos, respeitando o contexto histórico, social e cultural, analisando a prática musical em geral e aspectos significativos na forma como a música está presente nas três obras individualmente. Torna-se necessário perceber e reconhecer que a música não só é interessante na análise de culturas Africanas, mas também o é quando analisamos determinadas obras literárias. Pretendo caracterizar e valorizar a música a partir da literatura ou vice-versa. Um dos objectivos desta dissertação é abordar o modo como, através da presença de referências musicais, podemos compreender a obra e as culturas do país em causa. Muitas vezes se deu relevo a outros aspectos culturais no estudo destas obras, sendo a música normalmente analisada com imprecisão, ou nem isso. Nas três obras são levantadas questões ligadas ao ser humano, sociedade e práticas culturais, de forma a poder demonstrar como diferentes aspectos de uma dada sociedade e a música estão interrelacionadas de forma complexa. É nesta interdependência entre música e sociedade que vamos encontrar um ponto de análise de diferentes culturas Africanas e das três obras em questão.

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Jansen, van Rensburg Wim Petrus. "Interpreting music consumption data published by the music industry to inform the career choices of music graduates." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62641.

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Rowland, Michael L. "Adult learning through religious music in an African American church /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487951907959578.

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Oliveira, Marcos Antonio Morgado de. "Fight the power oppositional discourse in african-american popular music." Florianópolis, SC, 1999. http://repositorio.ufsc.br/xmlui/handle/123456789/80856.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão.
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Análise do discurso de oposição nas letras de músicas populares Afro-Americanas dos Estados Unidos. Este estudo identifica os elementos textuais que caracterizam o discurso como de oposição e os relaciona às representações de relações sociais e identidades sociais das elites e da minoria Afro-Americana. A investigação do discurso Afro-Americano revela como as relações sociais e as relações de identidade são reproduzidas, desafiadas e/ou transformadas e como relações de poder e dominação, e oposição a estas, são construídas neste discurso.

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Friedson, Steven M. "The dancing prophets of Malawi : music and healing among the Tumbuka /." Thesis, Connect to this title online; UW restricted, 1991. http://hdl.handle.net/1773/11238.

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Burns, Carolyn Diane. "The relevance of African American singing games to Xhosa children in South Africa a qualitative study /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/burns/BurnsC0509.pdf.

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In post-apartheid South Africa there has been a strong emphasis on teaching traditional music in the schools. Previously the music was greatly influenced by Western European and English systems. New standards were developed in the Arts and Culture Curriculum 2005. The purpose of this study was to explore how children in South Africa could be taught African American singing games, their perception and preferences, and how these songs would meet the new standards. A qualitative study was conducted with 69 Xhosa children in grades five and six at Good Shepherd Primary School in Grahamstown, South Africa. The learners were introduced to three African American singing games of which they had no prior knowledge. The songs were taught in the South African traditional manner; i.e., singing and moving simultaneously. Interviews were subsequently conducted with 47 learners and 5 families. The primary school teachers also provided information informally. The learners related their knowledge of African American singing games compared to their traditional Xhosa singing games and other music. They recognized a relationship between African American slavery and the apartheid era. A learner's preference of song was directly related to his previous experience with a Xhosa children's song or traditional music used for rites and rituals. Interviews with the teachers and parents were very positive indicators that the African American singing games should be included in the curriculum. Parents remembered and sang Freedom Songs and they indicated the need for their children to learn about other African cultures. The outcome of this study may provide South African teachers with materials to introduce African American folk music as an applicable source of multicultural music with African origins. The study suggests successful ways in which we teach multicultural music.

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Jeffery, Christopher. "South African film music: representation of racial, cultural and national identities, 1931-1969." Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/27459.

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The thesis examines the role of music in South African film pertaining to representation of identity of South African peoples and cultures, from the country's earliest sound films until the industry expansion of the 1970s. Chapter 1 contextualizes the study in relation to South African film and music, mainstream (Hollywood) film music theory/analysis/history, and national film music studies outside the Hollywood context. Chapter 2 provides an analysis of nationalist trends in South African silent film and the transition to sound film. The subsequent two chapters analyse the filmic use of rural and urban African music as tools of representation of African identity across a continuum of films, from earlier colonial/Afrikaner nationalist-oriented films to later films with an explicitly anti-apartheid message. The final chapter returns to the themes of Chapter 2, exploring film-musical representation of Afrikaner nationalism. As with Chapters 3 and 4, the source material is eclectic, covering a broad spectrum of techniques to promote a nationalist agenda. The study reaches four principal findings. Firstly, film-musical representation of African identity develops nuance over time, as African subjects succeed in moving from being represented to achieving some self-representation. This representation remains within the ambit of diegetic music, however, and frequently maintains a subject/object relationship regarding white/black representation. Secondly, the use of diegetic African music functions as a form of othering, creating an illusion of representational "authenticity" while in practice ensuring the music remains external to the filmmakers' expressive universe, relegating it to the role of "ethnic" colour rather than engagement with characters' psychologies. Thirdly, film music is implicated in issues of land rights: rural African music questions the legitimacy of "whites only" city spaces, and is metaphorical of population displacement from rural to urban locales. Conversely, nationalist films use pastoral tropes to reimagine rural African spaces through European conceptualizations of "tamed" land, and sentimentalize spaces through song to lay claim to them through emotional ties. Fourthly, it evaluates African music's potential to function as dramatic, narrative, extradiegetic underscore, showing how this was partly achieved by certain films of the period, with possible implications for contemporary mainstream film scoring.

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Johns, Philip Michael. "Creation of the Big Sky African ensemble." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-07302007-121609/.

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Wise, Raymond. "Defining African American gospel music by tracing its historical and musical development from 1900 to 2000." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1243519734.

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Terpenning, Steven Tyler Spinner. "Choral Music, Hybridity, and Postcolonial Consciousness in Ghana." Thesis, University of Colorado at Boulder, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10271023.

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Ghanaian choral music emerged from the colonial experience through a process of musical hybridity and became relevant in the post-independent state of Ghana. This dissertation begins by exploring how two distinct musical forms developed from within the Methodist and Presbyterian missions in the nineteenth and early twentieth centuries. These musical forms utilized both European hymn harmony and local musical features. The institutional histories and structures of these missions explain the significance of this hybridity and distinct characteristics of the forms. These local-language choral works spread through these institutions despite the attempts of people in leadership positions to keep local culture separate from Christian schools and churches. The fourth chapter explores the broader social impact of the choral tradition that emerged from the Presbyterian mission, and its implications for the national independence movement through the history of one choral work composed by 1929 by Ephraim Amu. Then, based on a case study of the Ghana Broadcasting Corporation and its workplace choir, I examine how intellectual leaders such as Kwabena Nketia have, in the context of the post-independent state of Ghana, promoted choral music as an aspect of national development and unity. Ethnographic work at the GBC reveals the sometimes contentious negotiations that are involved in this process. This dissertation is based on both ethnographic and archival research conducted during three research trips to Ghana from 2012 to 2015. This research reveals how Ghanaians have challenged colonial ideology through composing and performing choral music. Peircian semiotics and postcolonial theory provides a framework for exploring how the hybridity of choral music in Ghana has contributed to the development of postcolonial consciousness there.

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Webb, Clare Louise. "An annotated catalogue of selected works for clarinet by South African composers." Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8030.

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The dissertation consists of an annotated catalogue of nineteen selected works for clarinet by South African composers. These are presented in chronological order, based on the year of composition. A short biographyof the composer is given before the work is discussed. Of the analysed works, all those for solo clarinet or for clarinet and piano have been graded. A thesis of a similar nature, written in 1989 by L.A. Hartshorne, entitled ""The Compositions for Clarinet by South African Composers"", contains details of twenty-four works written between 1928 and circa 1981. The majority of the compositions analysed in the current dissertation were written from around 1981 onwards, and to some extent, therefore, this research could be seen as complementary to the information contained in the aforementioned thesis. An addendum lists all the South African works featuring solo clarinet that the author was able to trace. These include solo works, cham ber works for up to nineteen instruments and concerto-type works with strings or orchestra.

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Garza, Stevie Lynne. "Representations of African-American life In Alexander Zemlinsky's Sinfonsiche [sic] Gesänge, O20." Thesis, University of Iowa, 2010. https://ir.uiowa.edu/etd/671.

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In 1929, Alexander Zemlinsky composed the Sinfonische Gesänge, Op. 20, a collection of orchestral song settings of German translations of works by Harlem Renaissance poets. The seemingly exotic poetic texts as well as the composer's subtle incorporation of primitivistic instrumentation and rhythmic gestures commonly associated with jazz aptly reflect Weimar Germany's fascination with African-American culture at the time. The seven poems selected for the work feature a variety of topics that contribute to the pervasively somber tone of the cycle. The poetic themes either focus on issues that are considered to be particular to African-American life, such as slavery and lynching, or ones that are more general and universal, like loss, disillusionment, and death. Although all of the texts were penned by black American writers, the musical settings reveal a complex understanding of African-American life that is highly influenced by the perceptions of early twentieth-century Austro-German society. Each song's illustrative orchestration and symbolic motivic treatment accentuate an aspect of the constructed culture that is demonstrated through poetic characterization, setting, or theme. As a result, the overall arrangement of the songs as a cycle presents a multifaceted version of a distant African-American world that would have been accessible to its intended European audience.

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Bell, Ian A. "African-American Bassoonists and Their Representation within the Classical Music Environment." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555519921599826.

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Carter-Enyi, Aaron. "Contour Levels: An Abstraction of Pitch Space based on African Tone Systems." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461029477.

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Wiggins, Trevor. "Issues for music and education in West Africa." Thesis, University of Plymouth, 1999. http://hdl.handle.net/10026.1/2802.

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My published output represents an ongoing engagement with the issues of studying, learning, understanding and transmitting music. More specifically, it has the music of Ghana in West Africa as its primary focus. This music is then considered from a number of points of view:- • as music, where the sonic events can be charted, documented and analysed • as 'ethnic' music where the function and meaning of this music for its culture can be considered • as a cultural artefact where the changing processes of transmission and preservation are observed • as pedagogical material where the nature of learning related to culture and the processes of translation by the teacher and the learner are examined. Music as object for documentation and discussion is a substantial part of Xylophone music from Ghana, the two articles in Composing the Music of Africa and the article in the British journal of Ethnomusicology as well as the COs, 'Bewaare - they are coming' Dagaare songs and dances from Nandom, Ghana and 'In the time of my fourth great-grandfather ... ' Western Sisaala music from Lambussie, Ghana. These same publications also consider the roles and function of the music within its culture. Music as a cultural artefact, its transmission and preservation, particularly in relation to formal education, is the focus of the two articles in the British journal of Music Education, the Music Teacher publication, the article in Cahiers de Musiques Traditionelles, and the ESEM conference paper. Pedagogical issues and materials form the basis for Music of West Africa, Kpatsa, and the symposium papers.

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Mugandani, Viola Nyemudzai. "Jangwa music and musical performance by the Manyika people of Zimbabwe." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/60400.

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Jangwa music is traditional to the Manyika people of Zimbabwe. The Manyika are a sector of the Shona people, occupying a portion of Manicaland Province in the eastern part of Zimbabwe. African societies carefully craft songs for different contexts to serve a functional and educational purpose. The aim of the study was to explore the origin and the structure of jangwa music, the sociological and social psychological functions of the music and its performance, as well as its aesthetic values among the Manyika people. The study utilised focused ethnographical methods. A large group of elderly Manyika people with extensive knowledge and experience who were purposively selected acted as key informants. Data collection strategies included participant and non-participant observation during jangwa music performances, as well as in-depth individual and focus-group interviews. The study employed content analysis and selected songs were transcribed in staff notation using Crescendo Music Notation Software for analysis purposes. The outcomes of the study reveal some form of acculturation in the origin and structure of the music resulting in the music being a contemporary choral music. While some of the songs are for school sporting events, others are to demonstrate pride in teachers, community leaders and natural features within the Manyika region. However, the findings reveal that the majority of jangwa songs are for wedding and marriage ceremonies. Most of the wedding songs focus on the role of brides and married women as a whole, signifying the pivotal role they play within the Manyika society, yet a glimpse of the male roles are heard. In all the contexts, jangwa music contributes in uplifting the sociological and social psychological well-being of performers and audience members. For the Manyika people, the function of jangwa music takes precedence in its aesthetical values. Considering the diminishing of African musical arts, the study recommends the ethno-musicological use of jangwa music in informal and formal education in Zimbabwe for the promotion of indigenous knowledge systems. Jangwa song lyrics convey the distinctive values, virtues, and life skills of the Manyika people, and are therefore inextricably bound to the indigenous fabric and context-specific utilitarian purposes of the music.
Thesis (DMus)--University of Pretoria, 2016.
Music
DMus
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Dargie, David John. "Techniques of Xhosa music: a study based on the music of the Lumko district." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1001975.

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Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study

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Corbet, Remy. "A SOUND FOR RECOGNITION: BLUES MUSIC AND THE AFRICAN AMERICAN COMMUNITY." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/theses/730.

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AN ABSTRACT OF THE THESIS OF Remy Corbet for the Masters in History degree in American History, presented on August 3, 2011, at Southern Illinois University Carbondale. TITLE: A SOUND FOR RECOGNITION: BLUES MUSIC AND THE AFRICAN AMERICAN COMMUNITY MAJOR PROFESSOR: Dr. Robbie Lieberman Blues music is a reflection of all the changes that shaped the African American experience. It is an affirmation of the African American identity, looking forward to the future with one eye glancing at the past. It is a reminder of the tragedies and inequalities that accompanied African Americans from slavery to official freedom, then from freedom to equality. It is the witness of the development of African Americans, and of their acculturation to the individual voice, symbol of the American ethos, which made the link between their African past and their American future.

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Sonbert, Nicole Michelle. "EVALUATING APPROPRIATE REPERTOIRE FOR DEVELOPING SINGERS: AN AFRICAN-AMERICAN ART SONG ANTHOLOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/104.

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Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development. Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection. This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.

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Schöpf, Jürgen K. "The Serankure and music in Tlôkweng, Botswana /." Berlin : VWB-- Verlag für Wissenschaft und Bildung, 2008. http://d-nb.info/986637866/04.

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Zhu, Shasha. "A COMPARATIVE STUDY OF THE SOCIAL FUNCTION OF AFRICAN ALGAITA AND CHINESE SUONA." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1521589884200435.

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Wallace, Charles Allen. "Sarah's Song: How Folk Music Shattered Slaveholding Ideology in Antebellum Alabama." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626602.

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Summers, Epiphany. "Black Women as Listeners of Hip-Hop Music." Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10149611.

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This thesis investigates what Black undergraduate women understand and take away from Hip-Hop music. Highlighting their matrix of domination and recognizing their intersecting identities, this thesis shows how identity and music work together in the listening experience of Black women, thus emphasizing how they invest this music with social value. The following questions are answered in this research: What does Hip-Hop mean to Black female students at an elite university? How do these Black female students experience and perceive Hip-Hop music? A basic interpretive design with focus groups was used to execute this study. Three focus groups consisting of six to seven participants per group, totaling 19 participants, were conducted. Findings included that the background of each participant influenced what Hip-Hop means to them. Overall, Hip-Hop music was valued by participants and listened to for many reasons of sociological relevance, including its influence of political consciousness and colorism. Future studies should explore the how different demographic groups experience and perceive Hip-Hop, including how diverse educational backgrounds may influence perception.

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Floyd, Malcolm. "Music in enculturation and education : a Maasai case study." Thesis, Birmingham City University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322731.

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Dlepu, Siziwe Everrette. "From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/943.

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Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.

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Huisman, Rhonda. "Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.

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Thesis (MDram)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.
AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.

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Dissertations / Theses on the topic 'African music'

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