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THE BUZZ AESTHETIC AND MANDE MUSIC: ACOUSTIC MASKS AND THE TECHNOLOGY OF ENCHANTMENT
Get PDFThis article concerns the widespread preference for \u27buzzy\u27 timbres in African traditional musics; and, in particular, the ways in which this preference has been borne out in the Mande region of west Africa. The two main types of buzzing mechanisms in Mande music are metal buzzing rattles, which are attached to the neck or bridge of various string instruments, and mirlitons (vibrating membranes), which are placed over small holes on the resonating gourds of wooden xylophones. Over the last seventy to eighty years, an older and rougher \u27buzz aesthetic\u27 within Mande music has become increasingly endangered, with buzzing largely disappearing from instruments such as the kora and the ngoni in favour of a \u27cleaner\u27, more \u27Western\u27 aesthetic. Considered in a wider cultural context, I discuss the possible origins of the Mande buzz aesthetic and attempt to explore how the incorporation of buzzing sounds within Mande music might be connected to forms of \u27esoteric\u27, \u27supernatural\u27 and spiritual power
Oliver Mtukudzi Living Tuku Music in Zimbabwe. Jennifer W. Kyker. 2016. Bloomington and Indianapolis: Indiana University Press. 25 images, 3 transcriptions, bibliography, index, 290 pp.
Get PDFUmngqokolo: Xhosa overtone singing and the song nondel\u27ekhaya
No full textThis type of gruff singing \u27vocal percussion\u27 is also used by young men in the Lumko district, but there is another kind of umngqokolo - that used by women and girls - which is a form of overtone singing. At the time of writing (1985), Lumko Missiological Institute was situated at Lumko Mission, 12 kilometres south of Lady Frere, which is a small town some 48 kilometres east of the Cape Province town of Queensland. The name "Lumko”, which means \u27wisdom\u27, is in fact the name of the family which once owned Lumko as part of their farm
The New Grove Dictionary of Musical Instruments. Edited by Stanley Sadie. London: Macmillan Press: New York: Grove\u27s Dictionary of Music, 1984. [Vol.I, xxvi, 805p; Vol.II, xiii, 982p; Vol.HI, xiii, 921p]
Get PDFAfrican Music: Journal of the International Library of African Music, Vol. 10, No. 3 (2017)
No full textKwaito\u27s Promise: Music and the Aesthetics of Freedom in South Africa. Gavin Steingo. 2016. Chicago and London: University of Chicago Press. 23 bw figures (maps, transcriptions and photos), 2 tables, bibliography, filmography, index, 327pp.
Get PDFKNOWLEDGE TRANSFER: INDIGENOUS AFRICAN MUSIC IN THE SOUTH AFRICAN MUSIC CURRICULUM
Get PDFThe need for redress in South African education includes calls for the decolonisation of the curriculum. In music education, this could imply a straight forward swap of content, replacing the \u27hegemonic\u27 Western classical canon with orally transmitted musical traditions in Africa. However, the picture clouds somewhat when the epistemological framework of the discipline of (Western) music is retained for the \u27decolonised\u27 curriculum, as this results in a disjuncture between the practice of African music and the way it is understood on a conceptual level in the curriculum. Drawing on the theories of Basil Bernstein and Karl Maton, this article probes the nature of the knowledge articulated in the South African secondary school, the basis of its specialisation, and its potential to equip students with knowledge that allows boundary crossing
Early Field Recordings: A Catalogue of Cylinder Collections at the Indiana University Archives of Traditional Music, edited by Anthony Seeger and Louise S. Spear. Indiana University Press, Bloomington, 1987. xviii plus 198 pp. (Reprinted from Journal of Contemporary African Studies Vol.7 No. 1/21988 by permission)
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