Mmino wa setso; Concepts, Stucture, and Dinaka as Representation of the Tonal System of the Instrumental Music of Bahananwa (original) (raw)

Indigenous African Music: A Descriptive Analysis of Mmino wa Setšo from a Northern Sotho Perspective

Mmino wa setšo has been interpreted from different angles. Most notably, these schools of thought are interpretative, but with a considerable amount of misrepresentation. As such the efforts of bringing this and similar genres to the centre of scholarship are undermined. Drawing from interviews, observations and discussions with practitioners of the genre, this article attempts to proffer a descriptive analysis of mmino wa setšo. Whereas the presentation is in scholarly prose, the wish is to remain honest to the initial intentions and ideations of the practitioners. Cognisant of the discrepancies that still need to be addressed, this paper is an attempt at a type of African musicology, which seeks to capture the essence of the abstractions of the practitioners.

“Music and Tonal Communication: Decoding and Conserving the Agidigbo Instrument in Apala Music”. UNILAG Journal of Humanities. 4 (2), 123-133.

UNILAG Journal of Humanities., 2017

The Agidigbo is a major melo-rhythmic instrument of the Apala music, used by Yoruba musicians to achieve speech surrogate due to the tonal inflection of the Yoruba language. While it is somewhat easier in Yoruba vocal music to employ the three phonemic tones-low, mid and high for word intelligibility, the musicians must however adapt these tones in playing the melo-rhythmic instruments for adequate communication. This is because among Africans, there is often a tonal communication relished between the musicians and the listeners. While literature abounds on tonal communication in Yoruba music, with overt concentration on the 'talking drums', there is paucity of academic research on the tonal communication of the Agidigbo. This study thus examines the communicative attributes of the Agidigbo, with musical and contextual analysis of its decoded communications. Oral interviews and bibliographical evidences were used to elicit information. Content analysis was used to process the musical and tonal data generated in the Agidigbo music. This study establishes that although Yoruba musicians are entertainers, they are also regarded as custodians of moral law and habitually encode messages in their music, with its decoding entrusted to their enlightened faithfuls. This is evident in the Agidigbo, an instrument particularly used by the Yoruba people for musical, socio-cultural and linguistic communication. Significantly, this study aids the understanding and decoding of this indigenous instrumental heritage. This paper thus argues for more musicological research on this communicative instrument towards its globalization and conservation.

Mbilamutondo music and instruments in Venda culture

2009

There is a decline in the performance and promotion of one of the significant African cultural heritage components, Mbilamutondo music. This heritage is facing possible extinction, and its disappearance may spell the death of one of Vhavenda's religious rituals and indigenous spiritual healing processes. Recent research into indigenous African knowledge systems has led me to interesting conclusions: while Mbilamutondo is an indigenous Venda instrumental musical practice, there are no more practitioners of this heritage, and there are no learners who could continue the practice. Tshivenda indigenous mbila music (Mbilamutondo) performance is quite different from that of Zimbabwe and Mozambique. Whereas Zimbabwe and Mozambique still have many practitioners of this heritage, presently a practitioner of the Venda repertoire and style is yet to be found. Venda Mbilamutondo music's continued existence can, therefore, not be guaranteed. This study has also discovered that there is more to Mbilamutondo than just music. An aspect worth documenting and investigating is the trees that have contributed more to Mbilamutondo than just the building of a musical instrument. The aim of article is to highlight the significance of these Mbilamutondo music instrument-making trees, to promote an appreciation for this heritage, and to encourage young people to become active in conserving such valuable heritage. The article also explores some intervention strategies that may thwart this heritage's possible disappearance.

When the echoes are gone : a Yolngu musical anthropology

2001

Music is ubiquitous in the social life of the Y olngu people of northeast Arnhem Land in northern Australia. Not only does it accompany virtually every phase of ritual, including dance, painting, and the production of sacred objects, but it is frequently performed in non-ritual contexts as well, purely for the enjoyment of performers and listeners alike. As such, an understanding of music provides a unique and privileged point of entry into the study of Yolngu culture as a whole. The ethnomusicologist Anthony Seeger has written that an anthropology of music examines the ways in which music is an integral part of culture, while in contrast a musical anthropology examines the ways in which culture is musical and aspects of culture are created and re-created through musical performance. This dissertation is a work of musical anthropology. I provide a detailed examination of the form, content, and meaning of the songs of one particular group of Yolngu, the DhaJwangu people of the commun...

Original Ilonggo Compositions: Familiarity, Management, Sustainability, and Implications to Music Education

2017

Original Ilonggo music compositions are overly heard via social media and in school for instruction. This mixed method study was born out of the collection, preservation, marketing, and uses of original Ilonggo music compositions. Participants' familiarity, management, sustainability, as well as the implications to music education was determined. Two of each seven music genres composed of folk, pop, rap, march, hymn, inspirational, and religious music for a total of fourteen (14) compositions were purposely selected. The elementary and secondary music teachers in the province of Iloilo, Negros Occidental, and Guimaras served as respondents. Questionnaires and interview questions were made for composers, music teachers, and listeners. Results show that majority of the listeners were familiar of the compositions presented; Dalawidaw ranked 1 and Ang Balay nga Diutay ranked 2. For instruction, Provincial Jail was mostly used. The music teachers and composers had unanimous choice for cultural endeavor as highly managed and marketability and social endeavor were moderately managed. The music teachers indicated that cultural concerns, religious activities, specific instructional music materials, and acquisition of the materials from the Department of Education when used were highly sustained. Composers and music teachers have concern on the management, sustainability, and implications to music education. Hence, the original Ilonggo compositions are helpful in teaching music especially to the present K to 12 program using mother-tongue as medium of expression.

Marapo (Bone-Striking) Traditional Music as Practiced by the Bangwato of Botswana

2014

Highlighting the application of Ethnomusicology beyond the traditional boundaries of the academy,this paper aims at discussing information found out about Marapo (Bone-Striking) traditional Music as practiced by the Bangwato of Botswana located in the Central District. The paper was conceived from tribal collaborations between Ethnomusicology music classes and Bangwato tribal respondents in 2010 as an effort to understand Marapo traditional music and its uses in the tribal daily lives. The paper does not only pay attention to the music, but also to its traditional ways of transmission and its social and cultural explanations. The subject of learning styles among practiced and proficient musicians, aspirant musicians, participants is also pronounced. This paper seeks to promote and disseminate research that investigates experiences affecting musical acquisition, development, and participation across the lifespan. The research is also geared towards pointing out community factors that...

Musicality Bukidnon and Manobo tribes FOR SUBMISSION FIONAL 2015. FOR SCIENTIFIC.3.doc

Studies that examine and document the cultural practices of indigenous groups which have increased in importance. This is due in part to the rapidly increasing influence of foreign culture, which has found its way into the cultural practices of Filipinos even those who are residing in cities or urban areas. One area that has not been widely investigated yet is the musicality and instrumentation, in particular, of the lumads in Bukidnon. Thus, the purpose of this study is to identify the musicality and instrumentation of the Lumads in Bukidnon. This study employed the descriptive-normative survey. Recording of the different instruments was done using discography. Also, the researchers used participant observation and interview to identify and elucidate the different rhythmic combinations produced by musical instruments during the tribe's activities.

Kwesi Gyan: A Cross-Cultural Artistic Impression on Apatampa Musical Resources

E-Journal of Music Research (EJOMUR), 2023

Interculturalism has played a significant role in influencing societies' artistic identity, particularly in Africa's music. This phenomenon seems to be no exception in the choral, art-song, and instrumental music spheres despite the untapped nature of orchestral music in this part of the world, especially among Ghanaian art/scholar musicians. Orchestral music as a genre in the Neo-African art music space appears deficient in terms of its usage of African resources for creation. The less-to-zero exploitation of this art form has roughly marked a gap in its ingenuous disposition; thus, affording the opportunity for similar works. "Kwesi Gyan", the 3rd Movement of the 'Sankɔfa Symphony' is a 21st-century chamber orchestra piece that merges traditional rhythms and a folk tune from Apatampa music with scholarly compositional techniques. The orchestral form of this music speaks to its Western nature. Likewise, the main melodic and rhythmic structures originate from Ghanaian culture, which illustrates the concept of interculturalism through the aforementioned merger. This paper presented the composition through a practice-based research approach, drawing on theories of cross-cultural music-making and Neo-African art music. It also provided a deeper understanding of the composer's thought process and provides insight into understanding the piece. Additionally, the article aimed at inspiring creative research into Ghanaian musical arts, potentially contributing to the preservation of the country's cultural heritage for future generations.