This thesis has supplied source material and critical knowledge in the area of indigenous African music. It has explored veins common to the Afro-American and to his musical culture and has drawn comparisons between this culture and his African heritage. The first eight chapters offer information on tone language-speech melody, function, dance, rhythm, melody, harmony-polyphony, formhomogeneity and instruments, respectively. The ninth chapter is a transference of the African to white American with the intent of supplying a foundation for a wiser understanding of the contemporary black American, his subculture and his cultural contributions. The last chapter offers guidelines for the implementation of the previous material on the elementary, high school general, and high school music major levels. The appendices furnish bibliographical and pictorial information as a supplement.

Thesis (M.M.) Florida State University, 2006. / Advisor: Frank Gunderson, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 99 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (Ph. D.)--University of Melbourne, 2006. / Accompanying compact disc, in MP3 format, is not available online.

A thesis submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of African Languages at the University of Zululand, 2001. / Lolu cwaningo kuhloswe ngalo ukweneka obala ukubaluleka komculo kaMasikandi kanye noweSicathamiya esikweni lesizwe samaZulu. Isahluko sokuqala-ke sichaza ngayo le njongo. Lapha kubuye kwenekwe nendlela ezosetshenziswa, okuwukuhlolwa kwamaBhuku athile aqukethe ulwazi olufanele. Kubuye kufakanwe imilomo nezinzululwazi ngomculo woMdabu. Kubanjwe izingxoxo nabaculi oPhuzekhemisi benoJoseph Shabalala, okuyibona abawumgogodla walo ucwaningo. Konke okwenziwayo kuhlahla indlela yocwaningo lonke. Isahluko sesibili sibheka umlando nobunjalo bukaMasikandi. Lapha kubhekwa umlando kaPhuzekhemisi, amaqembu ayizingqalabutho namaqembu abesifazane. Kubuye kubhekwe nemvunulo koMasikandi, izimfijoli zomculo kaMasikandi kanye nezinhiobo zezindikimba ezidingidwa koMasikandi. Isahluko sesithathu sibhekana nomlando weSicathamiya. Kubhekwa namaqembu azingqalabutho eSicathamiyeni. Kobuye kuhlelwe nomlando kaJoseph Shabaiala kanye naMambazo aMnyama. Isahluko sesine sicubungula isakhiwo sobunkondlo eculweni likaMasikandi neteSicathamiya. isahluko sesihianu sicubungula izinhlobo zamaculo kaMasikandi neSicathamiya. Lapha kubhekwa amacuio esililo, alandayo, amalirikhi njaio njalo. Isahluko sesithupha siqukethe ukuqhathaniswa kwamaculo, elikaMasikandi kanye neleSicathamiya. Lapha kuthathwa iculo elilodwa ezinhlangothini zombili, lihluzwe ngokupheleie njengoba kwenzeka enkondtweni. Kubhekwa inhloso, umqondo, imizwa nokunye okuphathelene nokuhiuza. Isahluko sesikhombisa sidingida ukufana kwengqikithi eculweni likaMasikandi neleSicathamiya. Lapha kuhlolwa izingqikithi ezifana nothando, inkolo, ukubulalana kwezombangazwe, uxolo, ukubuyisana, inhlonipho emakhosini kanye nenhlalo yesiNtu. isahluko sesishiyagalombili nokungesokugcina, siyisihlaziyo nesiphetho. Kulesi sahluko kwethulwa izincomo bese kusongwa lonke ucwaningo.

This study details the growth of education in Botswana, with specific reference to the lack of development of Music as a subject. One of the main obstacles to the development of Music in schools has been the theoretical bias in the Colleges of Education, which generally ignore practical and instrumental work, including traditional instruments. This observation was noted during the pilot project of the draft Music syllabus in Botswana, which began in 1999 and continues until the end of 2001. What the teachers in training are taught bears little relation to the syllabus they are expected to teach in schools. Teacher trainers have little practical experience in music making and have little support from institutions that cannot relate to a perceived, noisy (music-filled) environment. Music lecturers have no experience of teaching Music at Primary or Secondary level, and began their own Music careers as adults, when they were sent to the University of Reading, England, for further studies, having expressed an interest in the subject. The training there appears to have been entirely theoretical. The aim of this study is to suggest and offer a course of work for use in teacher training institutions based on a three year/nine term academic programme, as presently followed in Botswana. Although the programme suggested correlates with the Music syllabus for Community Junior Secondary schools in Botswana, it can be used in other teacher training environments, such as training colleges, distance education modules or inservice courses. Following guidelines set by the Music Education Unit Standards for South Africa(MEUSSA) research team at the University of Pretoria, South Africa, and the Department of Vocational Education and Training in Gaborone, Botswana, with reference to international standards and exit levels, this thesis supplies generic music unit standards for use in Botswana, but which are easily adaptable for other Southern Africa Development Community countries (SADC). The units contain Access statements, Range statements, Performance criteria, Evidence requirements and Support notes, which are based in the African tradition in the early stages, so that trainees have a familiar basis from which to spread their wings. At present, there are no suitable Music resources for use in Botswana. The thesis discusses educational research in Botswana concerning teaching methodology and the pertinent Government literature and recommendations. / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

This portfolio consists of four diverse original compositions written in 1999 : a string quartet, a cello suite and a set of two choral pieces.

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.

Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity. / AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.

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.

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