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The role of popular and traditional music during the umgidi initiation ceremonies among the Amampondo: subtitle if needed. If no subtitle follow instructions in manual

- Gushu, Lindokuhle

  • Authors: Gushu, Lindokuhle
  • Date: 2024-04
  • Subjects: Xhosa (African people) -- Music , Folk music -- Social aspects -- South Africa -- Eastern Cape , Xhosa (African people) -- Rites and ceremonies , Popular music -- South Africa -- Eastern Cape
  • Language: English
  • Type: Master's theses , text
  • Identifier: http://hdl.handle.net/10948/62805 , vital:72962
  • Description: This study investigates the intricate dynamics of music within the umgidi initiation ceremonies among the amaMpondo, focusing on the interplay between traditional and modern popular music. The study explores the cultural foundation of the umgidi ceremony, emphasising its transformative significance and the evolving influence of modern popular music, particularly among the youth. A comprehensive literature review follows, contextualising the amaMpondo, their cultural practices, and the complex relationship between traditional and popular music in the broader South African music scene. The study adopted a qualitative ethnographic approach, including participant observation and individual interviews, to explore the impact of modern popular music on traditional elements during umgidi initiation ceremonies. Thematic analysis was employed for data interpretation, ensuring a systematic exploration of patterns and meanings. Ethical considerations were meticulously addressed, emphasising protecting participants' rights and cultural sensitivity. The study's findings highlighted the multifaceted roles of music during umgidi initiation ceremonies. Music is a powerful medium for cultural expression, communication, and communal celebration. The call-and-response format, rhythm variations, and the influence of modern genres such as Gqom and Amapiano were explored. Community attitudes toward integrating modern popular music reveal diverse opinions, ranging from full embrace to resistance. In summary, this study contributes to understanding the evolving dynamics of music in umgidi initiation ceremonies among the amaMpondo. The study provides a nuanced exploration and a roadmap for future research, community engagement, and policy considerations by combining cultural insights, literature review, methodological rigour, and community perspectives. , Thesis (MMus) -- Faculty of Humanities, School of Visual and Performing Arts, 2023
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  • Date Issued: 2024-04

Composition portfolio

- Cooper, Corinne Jane

  • Authors: Cooper, Corinne Jane
  • Date: 2019
  • Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
  • Language: English
  • Type: text , Thesis , Masters , MMus
  • Identifier: http://hdl.handle.net/10962/168338 , vital:41568
  • Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
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  • Date Issued: 2019

Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown

- Madiba, Elijah Moleseng

  • Authors: Madiba, Elijah Moleseng
  • Date: 2019
  • Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
  • Language: English
  • Type: text , Thesis , Masters , MMus
  • Identifier: http://hdl.handle.net/10962/76599 , vital:30611
  • Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
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  • Date Issued: 2019

From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts

- Dlepu, Siziwe Everrette

  • Authors: Dlepu, Siziwe Everrette
  • Date: 2009
  • Subjects: Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
  • Language: English
  • Type: Thesis , Doctoral , DPhil
  • Identifier: vital:8460 , http://hdl.handle.net/10948/943 , Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
  • Description: Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
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  • Date Issued: 2009

An analysis of oral literary music texts in isiXhosa

- Mpola, Mavis Noluthando

  • Authors: Mpola, Mavis Noluthando
  • Date: 2007
  • Subjects: Xhosa (African people) -- Music , Xhosa (African people) -- Music -- History , Xhosa (African people) -- Folklore , Composers, Black -- South Africa , Hymns, Xhosa , Folk literature, Xhosa
  • Language: English
  • Type: Thesis , Doctoral , PhD
  • Identifier: vital:3632 , http://hdl.handle.net/10962/d1012909
  • Description: This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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  • Date Issued: 2007

A Christmas card

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

African children

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

After a long time

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Come and celebrate

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Come and celebrate

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Down the street

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

For their rights

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Going your way

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

I am coming from far away

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

I don't know why

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

I don't want to leave you

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

I wanna go to Jamaica

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Its a pity

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Johannesburg

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

Johannesburg

- Monwabisi Gladstone Sabani, Tracey, Andrew T N

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