Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

Thesis (M.A.)--Denver Seminary, 1997. / Includes bibliographical references (leaves 90-92).

Thesis (Ph. D.)--University of Washington, 1990. / Vita. Includes bibliographical references (leaves [358]-362).

This thesis examines Shona commodified songs in order to develop a set of criteria for critically determining whether a Zimbabwean popular song has appropriated a Shona traditional song and whether this enables the song to be categorised as “commodified Shona traditional music”. The study identifies and analyses Zimbabwean popular songs by selected musicians. It identifies strategies and patterns adopted by the musicians to reconstruct Shona traditional sources. The study also questions why the musicians draw from the indigenous sources in certain ways and how the commodified songs are meaningful to them and Shona community members in general. The analysis shows that there are certain cultural values associated with each of the distinct Shona musical genres namely mbira, ngoma and jiti. These determine how the songs are adapted. Mbira music is believed to be the product of ancestors and therefore all the popular songs that reproduce mbira traditional sources must retain “standard basic” structural elements. The melorhythmic patterns associated with ngoma traditional sources are usually maintained in popular music. While text constantly changes, traditional themes are usually continued. However, the perception and understanding of cultural values usually differ from one popular musician to another depending on varying personal backgrounds and compositional purposes. Generally, there are four strategies employed in the adaptation of Shona traditional music. These are imitation, sampling, combining two or more distinct indigenous styles and abstract adaptation. The inclusion and exclusion of Shona indigenous elements in popular music performance play an important role in the reconstruction and negotiation of cultural heritage and identity for contemporary musicians and audiences.

Thesis (D. Min.)--Southwestern Baptist Theological Seminary, 1995. / Includes bibliographical references (leaves 284-289).

No description available.

This thesis is a critical examination of patterns of research in the academic study of Shona traditional religion, with special reference to methodological considerations. I analyse the methods and approaches used so far by prominent writers in the study of Zimbabwe's Shona traditional religion so that we may be able to develop better ways of researching it. I then discuss ways that ought to inform and direct the research methods that are most likely to yield adequate empirical studies of the Shona people. I analyse works of the "early writers", as well as those of Michael Gelfand, Gordon Chavunduka and Michael Bourdillon. Where relevant, I explore the connection between the researchers' religious, cultural, academic or professional "baggage" and how this relates to their research. Discussing methodological issues such as: the "insider-outsider" question, the "emic-etic" issue, value-judgment as well as the questions of reductionism, "subjectivity" and "objectivity" in scholarship, I examine these writers' attitudes to, and the ways they wrote about Shona traditional religion and cultural practices. I assess their approaches and research methods in relation to those from various disciplines such as history, phenomenology, theology, anthropology and participant observation. I analyse the extent to which these writers, for example, utilised the historical approach or presented insider perspectives in an endeavour to reach an adequate and thorough understanding of Shona religion and culture. In view of the fact that Shona traditional religion is a polyvalent and polymorphic community religion, I argue that no one approach and method can be said to be "the" only method so as to attain a comprehensive understanding of the meanings veiled in Shona religion and culture. Furthermore, given the nature of Shona traditional religion, it is essential for researchers to exploit as much of oral history as possible. Thus, researchers also need to learn the Shona language, live in the community for a long period of time, attend and observe every bit of Shona life so as to see, hear and understand how these phenomena fit together. It is suggested that methodological conversion and agnostic restraint need to be forged into a multi-disciplinary and poly-methodic science of religion in the quest of a research model to be used in order to attain a better understanding of Shona religion, culture and society. / Thesis (Ph.D.)-University of Natal, Pietermaritzburg, 1997.

Thesis (M.A.)--Duquesne University, 2004. / Title from document title page. Abstract included in electronic submission form. Includes bibliographical references (p. 99-102) and abstract.

Thesis (M.A.)--Johnson Bible College, 1995. / Includes bibliographical references (leaves 115-122).