The main focus of this work explores the ideological concepts surrounding the early development of South African urban music. First, a brief description of the development of some of the major urban music styles of the continent of Africa is provided. This is followed by an overview of the early development of South African urban styles, and includes definitions of the styles as they occurred chronologically up to the development of African jazz in the 1940s. Kwela is discussed as the major commercial offshoot of African jazz in the 1950s. The concepts and beliefs, or 'thought worlds', which were transmitted from white South African liberals to elite black intellectuals in the 1930s and 1940s, in so far as they were presented in the press of these decades, are examined. Specifically, the effects of these liberal ideological concepts on the preference for western civilisation in general and western music in particular is discussed. The role of Black America as the flagship of black progress, achievement, and above all, success in the realms of music, is assessed in relation to its impetus for the black elite 'liberal' strategy which essentially appealed to white moral conscience. The concepts of Africanism and 'New Africanism' are investigated so as to determine their influence on the creation of unique, syncretic African forms, and in particular, on the birth of African jazz or mbaqanga of the 1940s. The viability of describing elite support for the Africanisation of jazz in this decade as expressing or emanating from political militancy as a manifestation of the 'philosophy' of 'New Africanism' is debated. The 1950s are presented as a decade which can be described in generalised terms as one of 'urban protest', in which a mélange of hedonism and political assertion provides the context for the creation of highly commercialised African urban styles. The use of the colloquial epithet 'msakazo' as an umbrella term for these styles is discussed, focussing on the ideological perspectives of the proponents and opponents of the genre. Reasons for the vehement opposition to African styles by some in the media who simultaneously sponsored American progressive jazz styles such as bebop, are analysed. Emphasis throughout the work is given to the interplay between Government policies and the development of the different styles. In particular, the role of the Nationalist Party policy of Apartheid, and its direct and indirect effects on the demise of African jazz, is examined. / Thesis (DPhil (Music))--University of Pretoria, 2007. / Music / unrestricted

The requirement of the South African Qualifications Authority (SAQA) for unit standards to be written for all fields of learning has given music educators a unique opportunity to identify the needs of the whole community and reassess the priorities of music education in South Africa. The field of African musics poses some special problems because it has been excluded from the curriculum in the past and because the informal learning traditions need careful attention if they are to be adapted to formal learning contexts. A simple substitution of African for Western music theory, history and instrumental practice is not an appropriate course of action, as African musics are rooted in a philosophical framework that is quite different from that of Western music. In order for culturally appropriate unit standards to be written, a philosophical basis of African music-making must first be identified from a study of African music practices. Secondly, an examination of the general principles of the musics of South Africa, with judicious examples taken from other parts of Africa will guide the approach to the writing of unit standards for African musics. Curriculum frameworks from other countries which have developed standards within an outcomes-based education (OBE) context, and the specific outcomes for Arts and Culture, are the third element to inform the writing of unit standards for African musics. The problems of implementation are various, including the shift from informal learning contexts to formal, but in the praxial approach to music education this dilemma can potentially be resolved. Most pressing are the limited resources of provincial education departments, and an emphasis on training to develop the musicianship of educators is of primary importance. African musics in the curriculum will require not only fresh musical material but also a shift in approach, incorporating the community values of the music which affirm the processes of music-making. / Dissertation (MMus)--University of Pretoria, 2006. / Music / unrestricted

Thesis (M. Mus.)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: The research for this thesis was conducted because many educators in the South African education system are not equipped to teach Arts and Culture to primary and secondary learners because of a lack of resources and skills. The researcher tries to determine whether traditional songs of the Cape could lay the foundation to understand the origin, functions and dynamics of a culture, as well as the capacity to use creative arts- and cultural processes to develop one's self-image and promote spiritual well-being. The main aim of this study was to determine whether educators can be empowered by providing them with the necessary skills to teach Arts and Culture by means of the integration and implementation of traditional songs of the Cape in the classroom as resource materials when planning a curriculum. Arts and Culture educators were empowered to equip themselves to be able to teach learners to understand, acknowledge and promote the arts and unknowncultural practices such as traditional songs of the Cape. The researcher based the component of the Empowerment Training she was responsible for on the requirements for Participatory Action Research: Awareness, Emancipation, A learning strategy for participants and the development of independence. The results of this thesis are based on two projects the researcher participated in. The main aim of the first project, "Mother's Milk, Mother's Muse" that was initiated by Professor Meki Nzewi of the University of Pretoria, was to collect traditional songs, games, legends and stories of the Cape. These materials are available on CD and DVD and included in this thesis. These were then used in the second project as resources to equip Arts and Culture educators with a variety of skills, which include the teaching of songs, during the Advanced Certificate in Education (Arts and Culture) at the University of Stellenbosch, offered since 2005. This thesis is a compiliation of how Arts and Culture educators were empowered to use and implement these materials in the learning area by the component in the ACE course for which the researcher was responsible. / AFRIKAANSE OPSOMMING: Die feit dat baie opvoeders weens ongebrek aan hulpbronne en vaardighede nie volledig toegerus is om die leerarea Kuns en Kultuur aan leerders op primere- en sekondere vlak aan te bied nie, het aanleiding gegee tot die navorsing vir hierdie tesis. Die navorser stel ondersoek in om te bepaal of tradisionele Kaapseliedere as basis sou kon dien vir on begrip van die oorsprong, funksies en dinamiese aard van kultuur, asook van die vermoe om kreatiewe kuns en kulturele prosesse te benut om 'n selfbeeld te ontwikkel en geestelike gesondheid te bevorder. Die doel van hierdie ondersoek was om vas te stel of opvoeders bemagtig kon word deur hulle toe te rus met basiese onderrigtegnieke om die leerarea Kuns en Kultuur te kan aanbied, deur die integrasie en implementering van tradisionele KaapseIiedere in die klaskamer en die insameling van liedere as hulpbronne wat tot opvoeders se beskikking is tydens kurrikulumbeplanning. Bemagtigingsopleiding is aan Kuns en Kultuur-opvoeders gebied ten einde hulself toe te rus om leerders te kan touwys maak hoe om die kunste asook kulturele vorms en gebruike wat histories nie erkenning kry nie, in hierdie geval tradisionele Kaapseliedere, te erken, verstaan en bevorder. Riglyne vir Deelnemende Aksie Navorsing, naamlik bewusmaking, emansipasie, 'n leerstrategie vir deelnemers en die ontwikkeling van selfstandigheid is as basis gebruik vir die bemagtigingsopleiding. Die navorser was betrokke by twee projekte waarop die resultate van hierdie tesis gebaseer is. Die hoof doeI van die eerste projek, "Mother's Milk Mother's Muse", was om tradisionele Kaapse liedere, speletjies, legendes en stories in te samel. Tydens die tweede projek, die Gevorderde Onderwyssertifikaat (Kuns en Kultuur) wat vanaf 2005 by die Universiteit Stellenboseh aangebied word, is die ingesamelde materiaal onder andere gebruik om verskillende tegnieke, waaronder die aanleer van liedere, aan opvoeders te demonstreer. Die materiaal wat ingesamel is, is op CD en DVD by hierdie tesis ingesluit. Hierdie tesis is onsamevatting van die maniere waarop Kuns en Kultuur-opvoeders deur middel van die komponent waarvoor die navorser in die GOS-program verantwoordelik was bemagtig is om hierdie materiaal te ontgin en in die leerarea te implementeer.

Thesis (Ph.D.)--University of the Witwatersrand, Faculty of Arts, School of Music,1958 / The tribes that fall under the Northern Sotho or Pedi language group are found in the area more or less bounded by Middelburg, Pilgrims Rest, Malopene, the Blaauwberg and Hamanskraal . No print can adequately describe the vital panorama of Pedi life. In surveying the musical practices of the Pedi I soon realised that their music was not an isolated entity but an integral unit of their whole pattern of living, both socially and ceremonially. It is from this essentially ' alive' standpoint, rather than as a scientific analysis of scale systems, etc., that I approached the subject of Pedi music. [Abbreviated Abstract. Open document to view full version] / WS2016

Thesis (MA. (African Languages)) --University of Limpopo, 2013 / Mushumo uno wo sumbedza ṱhalutshedzo dza nyimbo dza sialala dza Tshivenḓa, kukhethekanyele kwa nyimbo dza sialala, zwifhinga zwa u imba nyimbo dza sialala, tshakha dza nyimbo dza sialala dza Vhavenḓa na tsumbo dzadzo, vhathu vhane vha imba nyimbo dza sialala, zwilidzo na mutengo wa zwilidzo zwa nyimbo dza sialala, mishumo ya nyimbo dza sialala dza Tshivenḓa, nḓila dza u tsireledza nyimbo dza sialala dza Vhavenḓa uri dzi songo ngalangala.

Please read the abstract in the section 03back of this document / Dissertation (MA (Biblical and Religious Studies))--University of Pretoria, 2007. / Biblical and Religious Studies / unrestricted

MAAS / Department of Music

In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.

PhD (Xitsonga) / Xikolo xa Tisayense laswa Vanhu na Mahanyelo / Ndzavisiso lowu wu thyiwile Nxopaxopo wa Nkoka wa Tinsimu ta Thomas Hasani Chauke eka ku Tlakusa na ku Hluvukisa Xitsonga na Ndhavuko wa Vatsonga (An Analysis of the Role of Thomas Hasani Chauke’s Songs in the Development and Promotion of Xitsonga and Vatsonga Culture). Xikongomelonkulu xa ndzavisiso lowu i ku xopaxopa vuyimbeleri bya Thomas Hasani Chauke byi wu tirheke hakona ku ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga hakona. Hi lembe ra 1996 Vumbiwa bya tiko lebyi byi hlohlotelaka leswaku tindzimi hinkwato ta khumen’we ta ximfumo ti fanele ku khomiwa ku ringana byi pasisiwile. Kambe loko hi xiya hi kuma leswaku tindzimi ta Vantima ta ha ri eka xiyimo xa le hansi swinene. Huvo ya Pan South African Language Board (PanSALB) leyi simekiweke ku ringeta ku tlakusa na ku vona leswaku tindzimi hinkwato ta ximfumo ta hluvuka yi kuma swisolo eka vanhu lava pumbaka leswaku ntirho wa vona wu famba hi rivilo ra rimpfana. Leswi swi endle leswaku van’watindzimi va sungula njhekanjhekisano wo lava tindlela to vona leswaku tindzimi ta Vantima ta hluvukisiwa. Eka Xitsonga, muyimbeleri wo fana na Thomas Hasani Chauke u le ku tlangeni ka xiave xikulu eka ku hluvukisa na ku tirhisa Xitsonga na ku tlakusa ndhavuko wa Vatsonga hi vuyimbeleri byakwe. Ndzavisiso ku ya hi nkoka hi wona wu nga ta tirhisiwa eka xitsalwana lexi. Tinsimu to hambanahambana leti eka nandzelelo wa yena wa Shimatsatsa leti kandziyisiweke ku suka hi 1980 ku fika hi 2014 ti ta xopaxopiwa hi ku tirhisa thiyori yo xopaxopa. Ndzavisiso lowu wu kumile leswaku Thomas Hasani Chauke u tlanga xiave xikulu swinene eka ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga. Matirhiselo ya yena ya ririmi na mikongomelo leyi a yimbelelaka hi yona hi swona swi nga ta kombisa mhaka leyi.

Text in English / The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. / Linguistics and Modern Languages / D. Phil. (Languages, Linguistics and Literature)