A critical analysis of Professor Andrew Tracey’s contribution to African music pedagogy and the field of applied ethnomusicology
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
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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:
- 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:
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