This thesis is the documentation of an investigation to explore the applicability and use of indigenous African instruments in the development of primary school music curriculum for Zimbabwe. Although music is regarded as one of the compulsory subjects of the Zimbabwean primary school curriculum, it is noted with concern that western musical arts ideas are prominent in the school syllabus hence, they underline the whole essence of music teaching in the post-independence Zimbabwean education system. This is done at the expense of indigenous African musical arts practices that learners can easily identify with in their respective local communities. The purpose of my study therefore, is to determine critical elements of a curriculum development framework for facilitating the inclusion of indigenous African instrumental performance practices as substantive music resource stuff in the westernised Zimbabwean primary school music curriculum provisions. Zimbabwe has a variety of indigenous African instruments that include mbira, mazambi, magagada, chipendani and chigufe. For the purpose of carrying out this research, three indigenous African instruments are identified as instruments of focus. These are marimba (African xylophone), ngoma (African drum) and hosho (African percussion shakers). Thus, the term indigenous African instruments is consistently used collectively to mean the identified instruments. The study also samples songs from a selected Ndau cultural arts functions such as zvipunha and zvimworoni that could be utilised as education activities for classroom music teaching and learning initiatives in Zimbabwe. The idea of including culture-inclined resource materials for music teaching in the westernised post-independence Zimbabwean primary school music education initiatives implies curriculum change and innovation. Thus, curriculum change in Zimbabwe could be viewed as a reputable way to fulfil complete socio-cultural, educational and political sovereignty towards diluting the impact of colonial repression and neo-colonialism in Zimbabwe. It is notable, however that, colonial repression in Africa has caused and is still causing a permanent dislocation between indigenous black Africans and their cultural arts practices and heritages. My study doesn’t aim to achieve piece-meal changes in the primary school curriculum. Neither does it aim to suggest a complete overhaul of the current westernised primary school music curriculum. With this study, I aim to achieve a reasonable inclusivity and fusion of divergent cultural arts opinions towards musical hybridism in the Zimbabwean musical arts education milieu. This, I believe, shall help to establish an alliance of traditional African and western arts elements to attract both domestic and international appreciation of contemporary musical arts education initiatives in the post-independence Zimbabwean society. Relevant information has been gathered through documentary analysis, interviews, participant observation and focussed discussions. The findings reveal that the majority of primary school teachers and learners need considerable cultural arts rehabilitation because colonial repression had conditioned their perceptions to see no sensible value in indigenous African instrumental performance practices as part of the school education curriculum. The study also reveals that even the training of primary school music educators in Zimbabwe is grossly inadequate. Hence, the majority of these primary school teachers are pedagogically restricted to facilitate the teaching of skills-based subjects like music at any level of the Zimbabwean education system. Therefore, it is sensible to conclude that generalist primary school teachers are unreliable education practitioners who need further education and training in order to acquire relevant competences to teach music effectively in schools. Finally, lack of human and physical resources such as music instruments and textbooks has also been viewed as another impediment factor crippling teacher performance in the teaching of music in the majority of primary schools in Zimbabwe. / Thesis (PhD)--University of Pretoria, 2017. / Humanities Education / PhD / Unrestricted

Die hoofdoel van hierdie studie was om Dansrapsodie – ʼn Afrika-stad van Stefans Grové en Fanfare Festival Overture van Jeanne Zaidel-Rudolph ten opsigte van struktuur, melodie, ritme en instrumentasie te ontleed en sodoende vas te stel watter Afrika-etniese elemente gebruik word en hoe dit toegepas is. ʼn Vergelykende studie is gedoen om vas te stel of daar enige ooreenkomste of verskille tussen die twee werke is. Verskeie skripsies, verhandelings en proefskrifte oor werke van Grové en Zaidel- Rudolph is geraadpleeg. Die skrywer kon nie gepubliseerde weergawes van Dansrapsodie – ʼn Afrika-stad en Fanfare Festival Overture opspoor nie, daarom is die ontleding met behulp van afskrifte van die handgeskrewe manuskripte onderneem. Daar is gereeld na die CD-opnames van albei werke (op die Claremont GSE-etiket) geluister. Die verhandeling bestaan uit ses hoofstukke. In die eerste hoofstuk word die agtergrond en motivering vir die studie uiteengesit en Hoofstuk 2 bevat kort biografieë van Grové en Zaidel-Rudolph. Grové se Dansrapsodie – ʼn Afrika-stad word in Hoofstuk 3 ontleed en verskillende Afrika-etniese elemente word beskryf soos wat dit van toepassing op die analise is. Zaidel-Rudolph se Fanfare Festival Overture word in Hoofstuk 4 op dieselfde wyse as Dansrapsodie – ʼn Afrika-stad ontleed. Die laaste twee hoofstukke (Hoofstuk 5 en 6) bevat ʼn vergelyking tussen die aanwending van Afrika-etniese elemente in die twee komposisies, asook gevolgtrekkings en voorstelle vir verdere studie. Die belangrikste gevolgtrekkings is die volgende: <ul> <li> Afrika-etniese elemente word in albei werke op só ʼn manier aangewend dat die komposisie vir ʼn Westerse orkes toeganklik is.</li> <li> In albei werke se struktuur word die roep-en-antwoord-beginsel en herhalende melodieë wat tydens elke herhaling effens gewysig word (permutasie) aangewend. Die melodiese inhoud word deur die mineur terts (ʼn interval van die pentatoniese toonleer) en twyfelagtige tonaliteite oorheers. Ritmiese ostinaatpatrone, die 12/8-metrum en poliritmiek in die Afrika-deel van Zaidel-Rudolph se komposisie bewerkstellig onmiddellik Afrika-etniese assosiasies. Die bongo-tromme en marimba kom in albei komposisies as Afrika-instrumente voor.</li> <li>Grové en Zaidel-Rudolph benader die aanwending van Afrika-etniese elemente in Westerse musiek op verskillende maniere.</li></ul> ENGLISH : The main objective of this study was to analyse the structure, melody, rhythm and instrumentation of Stefans Grové’s Dansrapsodie – ʼn Afrika-stad and Jeanne Zaidel- Rudolph’s Fanfare Festival Overture in order to determine which African ethnic elements are used in the two compositions and how these elements are applied. A comparative study was done to determine what the similarities and differences are between the two works. Several mini-dissertations, dissertations and theses about works by Grové and Zaidel-Rudolph were consulted. The author could not find published versions of Dansrapsodie – ʼn Afrika-stad and Fanfare Festival Overture, therefore the analysis was done with copies of the hand-written manuscripts. The author frequently listened to CD recordings (Claremont GSE label) of both works. The dissertation consists of six chapters. In the first chapter the author explains the background and motivation for the study and Chapter 2 contains short biographies of Grové and Zaidel-Rudolph. Grové’s Dansrapsodie – ʼn Afrika-stad is analysed in Chapter 3 and the different African ethnic elements that apply to this work are described. Zaidel-Rudolph’s Fanfare Festival Overture is analysed in Chapter 4, in the same way as Grové’s Dansrapsodie – ʼn Afrika-stad. The last two chapters (Chapter 5 and 6) include a comparison between the application of African ethnic elements in the two compositions, as well as conclusions and suggestions of topics for future studies. The most important conclusions are the following: <ul> <li> African ethnic elements are applied in such a way that both compositions are accessible for Western (“art music”) orchestras.</li> <li> In both compositions’ structure the call-and-response principle and repeated melodies (that are modified during each repeat) are applied. Both works’melodic content is dominated by the interval of a minor 3rd (an interval from the pentatonic scale) and an ambiguous tonality. Rhythmic ostinatos, the 12/8 metre and polyrhythm in the African part of Zaidel-Rudolph’s Fanfare Festival Overture immediately bring about African ethnic associations. The bongos and marimba as African instruments can be found in both works.</li> <li> Grové and Zaidel-Rudolph approach the application of African ethnic elements in Western art music in different ways.</li></ul> Copyright / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted