Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
Transnational habitus : Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
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