Brenner, Klaus-Peter: Chipendani Und Mbira. Musikinstrumente, Nicht-Begriffliche Mathematik Und Die Evolution Der Harmonischen Progressionen in Der Musik Der Shona in Zimbabwe. Abhandlungen der Akademie der Wissenschaften zu Göttingen, Band 221. Göttingen: Vandenhoeck & Ruprecht, 1997. 580 p. & 2 audio CDs ISBN 978-3-525-82372-9

INHALT (Button Type)

Danksagungen / Acknowledgements xix

Einteitung
Ethnographischer und historiseher Hintergrund; stilarealistischer Kontext; Fragen nach der Logik und der Evolution der harmonischen Progressionen der Shona-Musik 1

Kapitel 1
Der Mundbogen chipendani – Akustik, Spieltechnik, tonal-harmonische Ordnung und mutmaßliche Rolle in der Evolution der beiden harmonischen Standard-Progressionen der Shona-Musik 17

Kapitel 2
Nicht-begriffliche Mathematik — Zählbarkeiten, Symmetrien end Permutabilität von fünf den harmonischen Progressionen der Shona-Musik zugrundeliegenden Patternstrukturen als mögliche Ursache für ihren evolutionären Erfolg 65

Kapitel 3
Das Lamellophon mbira huru dzavadzimu – Stimmungsvarianten, modal-shift-System und evolutionäre Ausdifferenzierung der intervallischen Erscheinungsform der harmonischen Progressionen 135

Zusammenfassung
Hypothesen zur Rolle des Mundbogens chipendani, der nicht-begrifflichen Mathematik und der mbira-Lamellophone in der Evolution der harmonischen Progressionen der Shona-Musik 359

Summary
Hypotheses on the role of the chipendani mouth bow, of the non-lexical mathematics and of the mbira lamellophone in the evolution of the harmonic progressions of Shona music 367

Appendix I
Die Verbreitung von Mundbögen mit 1-dimensionalem Saitenteiler und / oder spieltechnischen Affinitäten zum chipendani, im subsaharanischen Afrika – Synopsis der Literaturbelege und kartographische  Darstellung 375

Appendix II
Katalog der 286 analytischen mbira-huru-dzavadzimu-Aufnahmen der Sammlung Brenner 1993 – mit einer relationalen Klassifikation nach den Kriterien mbira-Stimmung (absolute Höhe, intervallische Erscheinungsform), harmonische Progression (Patternstruktur, shift-Form, intervallische Erscheinungsform, zeitliche Permutationsform) und Formzahl 401

Appendix III
Fotos 447

Appendix IV
Analyse der von Carl Mauch in Jahre 1872 angefertigten mbira-Transkriptionen 499

Verzeichnis der herangezogenen Publikationen 523

Liste der klingenden Musikbeispiele auf dem beiliegenden Audio-CDs 549

Brusila, Johannes; Philip Donner & Nina Winquist (eds.): Zimia. The Forming of a Music Industry Association in Zimbabwe.  Helsinki: Mediafrica, 1992.  78 p. ISBN 952-9675-01-1

CONTENTS

Preamble 4

Stephen Roskilly
Music Recording Studios 7

Louis Mhlanga
The Music World and the Musician in Zimbabwe 17

Pauline Manjengwa
The Contribution of Education towards the Development of
a Music Industry 25

Julian Howard
Viability of the Music Industry in Zimbabwe 30

Busi Chindove
Music Promotion in the Radio Media 39

Jethro Shasha
Local Music for the Home Market 44

Munya Brown
Moving Forward in Unity 49

Biggie Tembo
Putting a House in Order 52

David Smith
Music Development in Retrospect:
The Point of View of an End User 56

Constitution of the Zimbabwe Music Industry Association (ZIMIA) 66
List of Organisations and Companies 75

Brusila, Johannes: ´Local Music, Not from Here´. The Discourse of World Music Examined through Three Zimbabwean Case Studies: The Bhundu Boys, Virginia Mukwesha and Sunduza. Helsinki: Finnish Society for Ethnomusicology, Publication No. 10, 2003. 253 p. ISBN 951-96171-6-7

CONTENTS

Acknowledgements 7

I. introduction 11
1. Earlier approaches 13
2. Aims of the research 22
3. Research setting 26
4. Methodological choices 31

II. The formation and industrial practice of world music 43
1. Historical background 43
   1.1 The term ‘World Music’ 47
   1.2 Background discourses 49
   1.3 Cultural and industrial context 56
2. The formation of World Music 58
   2.1 Definitions of World Music 60
   2.2 The music of the ‘Other’ 64
3. The industrial practice of World Music 68
   3.1 The marketing category of exclusion  69
   3.2 The assumptions framing the concept of World Music 78
4. Binaries and fields of tension 84

III. The tension traditional-modern 89
1. Traditional culture 89
   1.1 The search for the lost tradition 92
   1.2 Modern traditional rnbira by Virginia Mukwesha 96
2. Roots music 107
   2.1 The Bhundu Boys’ jit 112
   2.2 The city jiti of Mukwesha 123
   2.3 Sunduza’s mbube 127
3. Different yet familiar music 138
   3.1 The accessibility of the music 139
   3.2 The Bhundu Boys and WEA 145
4. Changing interpretations of tradition and modernization 157

IV. The tension local-global 163
1. Local music in an international context 163
   1.1 The Zimbabwean musicians out in the world 168
   1.2 Musical tourism and traveling 174
2. The universality of the local 178
   2.1 The production of music 180
   2.2 The idea of universalism 181
   2.3 Webs of consumption 186
   2.4 The World Music scene 192
3. Cultural gray-out or heterogeneity 194
   3.1 The Bhundu Boys between darkness and light 196
   3.2 Virginia Mukwesha’s pan-Africanized style 200
   3.3 Sunduza: from mbube to dance theatre 204
4. Globalization processes 213

V. Summary and conclusions 221
1. World Music as a discourse 222
2. Fields of tension 224
3. World Music as a phenomenon of late modernity 228
4. Concluding words 229

References 233

Capp, Myrna: Keeping the Embers Alive. Musicians of Zimbabwe. Trenton, N.J.:  Africa World Press, 2008. 126 p. ISBN 1- 59221-429-0 (cloth) 1-59221-430-4 (pbk)

CONTENTS

Introduction 5

Oliver Mtukudzi 9
Ephat Mujuru 17
Joyce Jenje Makwenda 25
Bryan Paul 35
Busi Ncube 49
Stella Chiweshe 57
Albert Nyathi 69
Chiwoniso Maraire 77
Amai Muchena 87
Cosmas Magaya 93
Beauler Dyoko  101
Farai Gezi 109
Lucky Moyo 117

Acknowledgements 126

Chikowero, Mhoze: African Music, Power, and Being in Colonial Zimbabwe. Bloomington, Ind.: Indiana University Press, 2015. 364 p. ISBN 978-0-253-01803-8 (paper) 978-0-253-01768-0 (cloth) 978-0-253-01809-0 (ebook)

CONTENTS

Introduction
Cross-Cultural Encounters: Song, Power and Being

1. Missionary Witchcrafting African Being: Cultural Disarmament
2. Purging the “Heathen” Song, Mis/Grafting the Missionary Hymn
3. “Too Many Don’ts:” Reinforcing, Disrupting the Criminalization
    of African Musical Cultures
4. Architectures of Control: African Urban Re/Creation
5. The “Tribal Dance” as a Colonial Alibi: Ethnomusicology and the
    Tribalization of African Being
6. Chimanjemanje: Performing and Contesting Colonial Modernity
7. The Many Moods of “Skokiaan:” Criminalized Leisure, Underclass
    Defiance and Self-Narration
8. Usable Pasts: Crafting Madzimbabwe Through Memory,
    Tradition, Song
9. Cultures of Resistance: Genealogies of Chimurenga Song
10. Jane Lungile Ngwenya: A Transgenerational Conversation

Epilogue
Postcolonial Legacies: Song, Power and Knowledge Production

Notes
Bibliography
Index

Dutiro, Chartwell & Kieth Howard (eds.): Zimbabwean Mbira Music on an International Stage. Chartwell Dutiro’s Life in Music. Aldershot: Ashgate, SOAS Musicology Series, 2007. 101 p. & CD ISBN 978-0-7546-5799-6

CONTENTS

Preface vii
List of Contributors xi
CD Contents xiii

1 Chartwell Dutiro, interviewed by Keith Howard
Chosen by the Ancestors 1

2 Theodore Konkouris
Chartwell Dutiro: The History and Politics of Zimbabwe 9

3 Thomas M. Preston
Spiritual Continuity amongst Musical Change 17

4 Tony Perman
Building Bridges: The Creative Processes of Chartwell Dutiro 21

5 Manuel Jimenez
Never-ending Musical Invention – The Music of the Mbira 41

6 ElmarPohl
On Mbira Notation 49

7 Ian Grocott
Taanerimwe: Notations 69

8 Penina Patchett
Taanerimwe: Shona Lyrics 81

References 95
Index 99

CD

Taanerimwe
01. Maringa 5.46
02. Chuma 6.22
03. Gudo 6.25
04. Mukanga Poto 4.27
05. Sekuru 5.00
06. Mutii? 5.58
07. Mashangwa 7.50
08. Zimbabwe 5.27
09. Surodzo Pahuva 7.07
10. Chikende 7.17
Total duration 61.50

Musicians
Mbira/vocals/arrangements: Chartwell Dutiro
Mbira: Ian Grocott
Guitar: Chris Morphitis
Bass: Max de Wardener
Drums: Tom Skinner
Vocals: Netsayi Chigwendere and Debby Korfrnacher
Trumpet: Tom Arthurs
Tenor Sax: Jack Arnold
Trombone: Joe Bentley

Eyre, Banning: Playing With Fire. Fear and Self-Censorship in Zimbabwean Music. Copenhagen: Freemuse, 2001. 99 pp. ISBN 1601-2127

CONTENTS

Preface  5
Abstract  7
About the Author  9
Map  10
Introduction  11

1.  A Brief History of Zimbabwe 14

2. General Background on Zimbabwe  18
2.1 Religion in Zimbabwe  18
2.2 Ethnicity and Politics in Zimbabwe  20
2.3 Political Structure  21
2.4 Freedom of Expression  22
       2.4.1 Censorship and Entertainments Control Act  22
       2.4.2 Freedom of the Press  23
       2.4.3 The MDC Open Hand  25
2.5 Legal System  27
2.6 Human Rights Record  27
       2.6.1 Southern Rhodesia  27
       2.6.2 Matabeleland after Independence  28
       2.6.3 The Movement for Democratic Change  28
       2.6.4 Press Harassment  30
       2.6.5 Gays and Lesbians of Zimbabwe  31
       2.6.6 Witchcraft  32

3. Music in Zimbabwe  33
3.1 African Music Culture in Southern Rhodesia  34
3.2 Music and the Post Independence State  36
3.3 Zimbabwe’s Music Industry  37
       3.3.1 Recording Industry  37
       3.3.2 Radio and the Foreign/Local Music Controversy  39
       3.3.3 Barriers to Importing Materials of the Music
                Profession  39
3.4 Women in Zimbabwean Music  40

4. Censorship and Intimidation in Zimbabwe  42
4.1 Censorship of “Immoral” Art  43
4.2 Censorship of Political Art  45
4.3 Interrogation of Musical Artists  49
4.4 Are Musicians and Writers Afraid?  53

5. Case Studies  64
5.1 Thomas Mapfumo: “Mamvemve” and “Disaster”  64
       5.1.1 Mapfumo’s Biography  64
       5.1.2 Mapfurno vs the ZANU-PF Regime  67
5.2 Oliver Mtukudzi: Bvuma/Tolerance and “Wasakara”  75
       5.2.1 Oliver Mtukudzi Biography  75
       5.2.2 Tuku`k Sly Rebuke  76
5.3 Capital Radio  82

6. Conclusions and recommendations  87

Appendix
Music Styles of Zimbabwe  90
 a. Tonga Music  90
 b. Ndebele Music  90
 C. Shona Music  92
 d. Pop Singers of the Revolution  94
 e. Sungura  95
 f. Gospel  96
 g. Modern Trends  97

 Written Sources  99

Eyre, Banning: Lion Songs. Thomas Mapfumo and the Music That Made Zimbabwe. Durham, N.C.: Duke University Press, 2015. 362 p. ISBN 978-0-8223-5908-1

CONTENTS

Preamble
Chimurenga Nights 1

I. Rhodesia
1. England Is the Chameleon, and I the Fly 13
2. Singing Shona 28
3. When the Spirit Comes 50
4. Songs for the Book of History 67
5. Bishop and Pawn 89
6. Agony of Victory no

II. Zimbabwe
  7. Snakes in the Forest 125
  8. Corruption 144
  9. Big Daddy and the Zimbabwe Playboys 161
10. Sporting Lions 179
11. Too Many Ghosts 200
12. Breaking the Cycle 211

III. America
13. Striking at Empires 231
14. Dancing with Devils 248
15. The Land of the Horses 264
16. Lions in Winter 281

Acknowledgments 295
Notes 297
Glossary 333
Selected Discography 337
Bibliography 341
Index of Songs and Albums 345
General Index 349

Kyker, Jennifer W.: Oliver Mtukudzi. Living Tuku Music in Zimbabwe. Bloomington, Ind.: Indiana University Press, 2016. 290 p. ISBN 978-0-253-02231-8 (pbk) 978-0-253-0223-3 (cloth)

CONTENTS

Acknowledgments ix

Introduction
The Art of Determination 3

1. Hwaro/Foundations 30
2. Performing the Nation’s History 58
3. Singing Hunhu after Independence 84
4. Neria: Singing the Politics of Inheritance 108
5. Return to Dande 126
6. Listening as Politics 146
7. What Shall We Do? Music, Dialogue, and HIV/AIDS 168
8. Listening in the Wilderness 202

Conclusion
I Have Finished My Portion of the Field 218

Notes 227
Bibliography 257
Index 275

Kwaramba, Alice Dadirai: Popular Music and Society. The Language of Protest in Chimurenga Music: The Case of Thomas Mapfumo in Zimbabwe. Oslo: Department of Media and Communication, University of Oslo, IMK-report No. 24, 1997. 175 p. Notice Identical with master thesis from 1996. ISBN 82-570-6096-8

CONTENTS

Preface
Acknowledgements

Chapter 1
Introduction 1
1.1 Background 1
      1.1.2 Statement of the Problem and Limitations 6
      1.1.3 Justification 8
1.2 Theoretical Foundations and Conceptual Framework 10
      1.2.1 Theoretical Foundations 10
               1.2.1.1 Literary Theory and Analysis of Songs 11
               1.2.1.2 Critical Language Analysis 12
      1.2.2 Conceptual Framework 14
               1.2.2.1 Language 14
               1.2.2.2 Discourse 15
               1.2.2.3 Ideology 16
               1.2.2.4 Songs as Texts 17
               1.2.2.5 Meaning in Texts 18
               1.2.2.6 Popular Music 20
               1.2.2.7 ‘The People’ 22
1.3 Analytical Technique 23
      1.3.1 Towards a Framework for the Analysis of Songs 23
      1.3.2 Analytical Procedure 24
               1.3.2.1 Content Analysis 24
               1.3.2.2 Procedure 25
      1.3.3 Historical Time Frame 26
      1.3.4 Selection of Songs 27
      1.3.5 Methodological Limitations 28
1.4 The Discography 28
1.5 A Note on Translation 29

Chapter 2
Protest and Confrontation: “Tumirai Vana Kuhando!”
(Send Your Children to War!) 31
2.1 Background 31
2.2 Analysis of Song Texts 35
      2.2.1 Lexical Selection 38
               2.2.1.1 Titles 39
               2.2.1.2 Synonyms and Over-lexicalisation 40
               2.2.1.3 Lexical Ambiguity 41
      2.2.2 Syntactic Patterns 42
               2.2.2.1 Grammatical Mood of Verbs 43
               2.2.2.2 Cataloguing 49
               2.2.2.3 Agency 50
               2.2.2.4 Presupposition 51
      2.2.3 Use of Culture Specific Expressions, Symbols
               and Metaphors 53
               2.2.3.1 Proverbs 54
               2.2.3.2 Idiomatic Expressions and
                           Customary Beliefs 54
               2.2.3.3 Metaphor 55
               2.2.3.4 Folkloric and Traditional Genres 58
               2.2.3.5 Transposition of War and
                            Hunting Songs 58
      2.2.4 Marked Pronouns as Key Actors 61
               2.2.4.1 ‘You’ versus’Us’ 61
               2.2.4.2 The Pronoun ‘We’ 62
      2.2.5 Extra-Linguistic Features 63
               2.2.5.1 Attire 63
               2.2.5.2 Beat, Pace and Choice of Instruments 64
      2.2.6 The Medium of Expression 65
      2.2.7 Conclusion 67

Chapter 3
From Protest to Celebration and Consolidation:
“Tirikupemberera Zimbabwe” (We are Celebrating
the Birth of Zimbabwe) 69
3.1 Background 69
3.2 Analysis of Song Texts 74
      3.2.1 Lexical Selection 78
               3.2.1.1 Titles 79
               3.2.1.2 Synonyms and Overlexicalisation 79
               3.2.1.3 Ambiguity and Vagueness Disappear 80
               3.2.1.4 Intertextuality 81
      3.2.2 Syntactic Patterns 82
               3.2.2.1 Grammatical Mood 82
               3.2.2.2 Cataloguing 89
      3.2.3 Statement of Participants, Agency, Causality
               and Responsibility 90
      3.2.4 Use of Marked Pronouns 93
               3.2.4.1 The Pronoun ‘We’ is Redefined 94
      3.2.5 From Culture Specific to ‘Universal’ Symbols
               and Metaphors 99
               3.2.5.1 Metaphors and Symbols 99
3.3 Extra-Linguistic Features 100
      3.3.1 Attire 100
      3.3.2 Instrumentation 102
      3.3.3 Pace and Form of Music 103
3.4 Medium of Expression 103
3.5 Conclusion 104

Chapter 4
From Celebration back to Protest:
‘Vakuru Vepano Matadza Kutonga!’
(Gentleman, You’ve Failed to Rule!) 107
4.1 Background 107
4.2 Analysis of Song Texts 112
      4.2.1 Lexical Selection 114
               4.2.1.1 Title 114
               4.2.1.2 Synonymy and Overlexicalisation 115
      4.2.2 Syntactic Patterns 115
               4.2.2.1 Grammatical Mood 115
      4.2.3 Use of Pronouns 120
               4.2.3.1 ‘Them and ‘Us’ Division Re-emerges
                            and is Redefined 120
               4.2.3.2 The Pronoun ‘We’ is Redefined 124
4.3 Extra-Linguistic Features 138
      4.3.1 Attire 138
      4.3.2 Pace and Form of The Music 139
4.4 Medium of Expression 140
4.5 Conclusion 140

Chapter 5
Observations and Concluding Reflections 143
5.1 Observations 143
      5.1.2 Changing Patterns in Discourse 144
      5.1.3 The Covert-Overt Poles 145
      5.1.4 The Pronoun ‘We’ 147
      5.1.5 Social Identities 148
      5.1.6 Ideological Contestation 149
      5.1.7 Extra-linguistic Features 150
      5.1.8 Choice of Medium of Expression 152
5.2 Concluding Reflections 154

Notes 157
Discography 161
Bibliography 171

Makwenda, Joyce Jenje: Zimbabwe Township Music. Harare: Published by the author, 2005. 200 p. ISBN 0-7974-2791-0

CONTENTS

Introduction 14
The Beginning 1930s-1960s 14
The Mid Sixties 29
Then the Seventies 33
The Jazz Revival 43

Venues 48
Township Music Promoters 59

Influences on Township Music 67
Kwela 71
Influnces of Zimbabwe Township Music Abroad 75
The visit of Louis Armstrong 77

The Recording History 80

Popular Groups/Musicians and Their Music 86

The Bantu Actors/Mattaka Family 87
Kenneth Mattaka 87
The Bantu Actors 88
Lina Mattaka 89
Bertha Mattaka-Msora 90
Edisson Mattaka 90

The Merry Makers 91
Agnes Zengeni  93
Emma Mayo 93

Moses Mpahlo-Mafusire/
The De Black Evening Follies 93

Omasiganda 97
Josaya Hadebe 97
Jacob Mkungu 98
John White 98

August Musarurwa 100
Epworth Theatrical Strutters 103
Dorothy Masuka 106
The City Quads 108
Pat Travers 111
The Milton Brothers and Faith Dauti 113
The Gay Gaeties 115
Alick Nkata 117
Jeremiah Kainga 118
Ruth Mpisaunga 119
Albert Ndinda 120
City Slickers 121
Safirio “Mukadota” Madzikatire 123
Susan Chenjerayi 124
The Marshall Brothers 127
Simangaliso Tutani 128
Andrew Chakanyuka 131
Chris Chabuka 132
Eliah Bandab133
George Sisimayi 134

Women Set the Ball Of Jazz Rolling 135
Lina Mattaka 136
Mabel Bingwa 137
Victoria Chingate 137
Sylvia Sondo 138
Flora Dick 138
Tabeth Kapuya 138
Florence Modikwane 139
Kristine Dube 139
Joyce Ndoro 139
Faith Dauti 140
Evelyn Juba 140
Grace Jones 140
Dorothy Masuka 141
Rennie Jones Nyamundanda 141
Margaret Pazarangu 141
Miriam Yafele 141

Township Music/Jazz: A Great Revival 142
Cool Crooners 147
Harare Mambos 149
Virginia Sillah Jangano 150
Fanyana Dube 151
Paul Lunga 152
Friday Mbirimi/Mbare Trio 153
Basil Kumpeu 155
Biddy Patridge/Mhepo 156
Moses Kabubi/Summer Breeze 157
Jethro Shasha 158
Hilton Mambo 160
Fungai Malianga 161
Ava Rodgers 163
Bob Nyabinde 165
Jabavu Drive 166
Phillip Svosve 167
Roger Hukuimwe 167
Timmy Makaya 16$
Ernest Sando 168
Louis Mhlanga 170
Jazz Invitation 172
Prudence Katomeni 172
Dumi Ngulube 173
Duduzile Manhenga 174
Maita Women’s Ensemble 175
Africa Revenge 176

Today’s Promoters 178
Irene Gwaze 182
Jackie Cahi 182
Penny Yon 182
Sam Mataure 183
Gibson Mandishona 184
Socialities 186
Picture of the 50’s Audience 186
Picture of Today’s Audience 186

Index 187
Biography-Sources referred to and further reading 187
Glossary 187
Musicians/Personalities 188
Groups/Bands 191
Tunes/Songs 193
Places/Names194
Venues 193
Events/Publications 195
Picture Credits 196

Acknowledgements 198
Author’s Biography 199
Epilogue 200

Makwenda, Joyce Jenje: Women Musicians of Zimbabwe. Harare: Published by the author, 2013. 195 p. ISBN 978-0-7974-3476-9

CONTENTS

Chapter 1
Introduction: Brief History – Women and Gender in Zimbabwe
and in the Music Industry 9

Chapter 2
An Overview of the History of Women and Power (Politics and Economic Power) 20

Chapter 3
Women Penetrate the Music Industry 36

Chapter 4
Outlines the Contribution of Women to the Evolution of Musical Styles from the Pre-Colonial Times to the Present 51
• Township Music/Jazz, the American, South African, Zimbabwean 
   Mix 1930s-1950s
• The influences from the Diaspora (Mostly 1960s, 1970s)
   Mbaqanga, Rhumba, Reggae and Soul
• Traditional – Popular Music mostly from 1970s to 2000
• Urban Grooves Music:
   Zimbabwean Rap/Hip Hop/House/Disco – 2001
• Church Music/Gospel Music

Chapter 5
Public Persona and Space 82

Chapter 6
Voice and Artistic Expression  102

Chapter 7
Encouragement 122

Chapter 8
Economic Power 137

Chapter 9
Education 150

Chapter 10
Personal Time 163

Conclusion 170
Discography 171
Index 176
Acknowledgements and Dedication 191
Publications and Productions by the author 195
Epilogue196

Mangena, Fainos, Ezra Chitando & Itai Muwait (eds.): Sounds of Life. Music, Identity and Politics in Zimbabwe. Newcastle upon Tyne: Cambridge Scholars Publishing, 2016. xviii & 294 p. ISBN 978-1-4438-8677-2

CONTENTS

Acknowledgements x

Introduction
Fainos Mangena, Ezra Chitando & Itai Muwati
Navigating the Interstices of Music, Identity and
Politics in Zimbabwe xi

Part I: Music and Gender

Chapter One
Ezra Chitando
Zvakaoma Kuva Munhu WeMurume (It is tough to be a Man):
Selected Zimbabwean Musicians on the Burdens of Masculinity 2

Chapter Two
Charity Manyeruke
Opportunities and Challenges of Female Musicians in Zimbabwe 19

Chapter Three
Tapiwa Praise Mapuranga
Gospel Music in Zimbabwe: Selected Women’s Voices 34

Chapter Four
Anna Chitando
Towards Loving Gender Relations:
Oliver Mtukudzi’s Wagona Fani 50

Chapter Five
Fred Zindi
Zimbabwean Women in Music: A Catalogue 66

Chapter Six
Fainos Mangena
 ‘John Rawls in Zimbabwe’:
A Reflection on Leonard Zhakata’s Call for Distributive Justice 80

[Part II: Music and Politics]

Chapter Seven
Ngonidzashe Muwonwa
 “Threatened Nation, Unfinished Nation”:
Discourses of Nation in Contemporary Zimbabwean Music 98

Chapter Eight
Godfrey Museka, Darmarris Kaguda and Onias Matumbu
Sounds of “Death”: The Adaptation of Madzviti-Muchongoyo Music in Silencing Dissenting Voices in Chipinge (Manicaland-Zimbabwe, 2002-2008) 114

Chapter Nine
Kudakwashe Shane Sambo, Nehemiah Chivandikwa and Kelvin Chikonzo
 “When Propaganda Boomerangs”:
The Case of Third Chimurenga Music Visuals 127

Chapter Ten
Oswell Hapanyengwi-Chemhuru
Music as a Contested Terrain in the Dynamics of Politics in Zimbabwe145

Chapter Eleven
Samuel Ravengai
Chimurenga Liberation Songs and Dances as Sites of Struggle to Counter Rhodesian Discourse: A Postcolonial Perspective 165

Chapter Twelve
Kelvin Chikonzo, Joel Nyimai and Kudakwashe Shane Sambo
 ‘Violations’ of The Chimurenga Genre in the Music of the Mbare Chimurenga Choir 182

Part III: Gospel Music, the Urban Grooves and Politics

Chapter Thirteen
Pedzisai Mashiri and Zvinashe Mamvura
“You shall know them by their names”:
A Sociolinguistic Approach to Gospel Music Groups’ Nomenclature in the Shona Society of Zimbabwe 196

Chapter Fourteen
Bridget Chinouriri
The Politicisation of Gospel Music in Zimbabwe’s Crisis Years, 2000-2010 213

Chapter Fifteen
Francis Machingura
The Urban Grooves as a Music Genre for Zimbabwean Youths:
An Analysis 232

Part IV: Music and Identity

Chapter Sixteen
Zifikile Gambahaya and Itai Muwati
Voices from Below: Ethnicity and Marginality in Lovemore Majaivana’s Album, “Isono Sami” 248

Chapter Seventeen
Fainos Mangena
Music, Hunhu/Ubuntu and Identity in Zimbabwe:
Unpacking Leonard Zhakata and Oliver Mtukudzi’s Messages 264

Chapter Eighteen 
Lickel Ndebele and Progress Dube
Music and Ethnicity in “a Primitive Society”:
A Case Study of Ndebele Wedding Songs 279

Contributors 288

Pongweni, Alec J. C.: Songs that Won the Liberation War. Harare: The College Press, 1982. 167 p. ISBN 0-86925-343-3

CONTENTS

Preface

Introduction
The Role of Music in a People’s Culture i
The Structure of Traditional Songs vi
The Themes of Traditional Political Songs vii

The Songs 1

Part I  Liberation choirs 9

Chapter 1
Conscientisation Songs 9
Nzira Dzemasoja Dzekuzvibata Nadzo 9
Hapana Chavo 11
Maruza Imi 16
Zvinozibwa neZANU 20
Tochema kuZANU PF 21
Hondo Yakura MuZimbabwe 24
Tora Gidi Uzvitonge 26
Zvikomborero 29
Muka! Muka! 32
Nxa izulu Lidhuma 34
Siyabatshiya Abazali 35

Chapter 2
Argument by Proxy 37
Kugarira Nyika Yayo 37
Chimoto 41
Mukoma Takanyi 44
Zakhali izibhamu 49
Phetsheya kweZimbabwe 50

Chapter 3
Appeal to Ancestral Spirits 51
Titarireyi 51
Mbuya NeHanda 54

Chapter 4
Appeal for Assistance and Expression of Gratitude 59
Ruzhinji Rwe Africa 59
Vanhu Vose VemuAfrica 62
Ndiro Gidi 66

Chapter 5
The Past, Present and Future 69
Yakanga Yaoma 69

Part II The home artists 72

Chapter 6
Harambee Songs 73
Batanai 73
Zivai Nemwoyo 75
Shingai 76
Chengetai Vabereki 79
Vashe Vangu 81
Mazuva Ano 82
Asilali thina 83
Donsa Mfana 86
Igazi Lachiteka 88

Chapter 7
And Now the Children of Tribulation Sing 90
Kuyaura 94
Chirizevha Chapera 96
Zai Ona Zai 100
Matiregerera Mambo 103
Tozvireva kupiko 106
Ndipeiwo Zano 107
Ndiri Bofu 109
Gunguwo 111
Ishe Wangu 114
Ishe 116
Togure Masango 119
Ndopatigere Pano 122
Ham Dzapera 124
Vaparidzi Vawanda 126
Zimbabwe Ithemba Lethu 128

Chapter 8
Songs of Defiance and Derision 130
Muchandiuraya 131
Tumira Vana Kuhondo 134
Mhandu Musango 136
Musango Mune Hangaiwa 140
Zimba Rakanaka 143
Nyoka Yendara 147
Africa 148

Part III Conclusion 151

Chapter 9
Songs of Celebration 152
Zuva Ranhasi 152
Sasuka emakhaya 154
Gukurahundi 155
VaMugabe Votonga 158
Nyaya Huru (Part I) 158
Nyaya Huru (Part II) 160
Thando 162
Be Zimbabwe masithandane 163

Bibliography 166

Turino, Thomas: Nationalists, Cosmopolitans, and Popular Music in Zimbabwe. Chicago, Ill.: University of Chicago Press, 2000. 401 p. ISBN 0-226-81701-6 (cloth) 0-226-81702-4 (paper)

CONTENTS

Acknowledgments ix

Part One
Critical Foundations
Introduction 3
1 Social Identities and Indigenous Musical Practices 31

Part Two
Colonialism and the Rise of Urban Popular Music
2 Indigenous Music and Dance in Mbare Township, 1930-1960 63
3 The Settler-State and Indigenous Music during the Federation Years 93
4 The African Middle Class: Concerts, Cultural Discourse, and All That Jazz 119

Part Three
Musical Nationalism
5 Music, Emotion, and Cultural Nationalism, 1958-1963 161
6 Musical Nationalism and Chimurenga Songs of the 1970s 190

Part Four
Guitar Bands and Cosmopolitan Youth Culture
7 On the Margins of Nationalism: Acoustic Guitarists and Guitar Bands of the 1960s 223
8 Stars of the Seventies: The Rise of Indigenous-Based Guitar Bands 262

Part Five
Globalization Begins at Home
9 Nationalism, Cosmopolitanism, and Popular Music after 1980 311

Notes 355
References and Bibliography 377
Discography 391
Index 393

Zindi, Fred: Roots Rocking in Zimbabwe. Gweru: Mambo Press, 1985. 101 p. ISBN 0-86922-360-7

CONTENTS

Acknowledgements vi
Preface vii
Introduction viii

1. The Roots of Zimbabwean Music 1

2. Influences on Zimbabwean Music and Musicians 11

3. Some Popular Musicians in Zimbabwe
Thomas Mapfumo 23
Jonah Sithole 38
Oliver Mtukudzi 40
The Real Sounds 45
The O.K. Success 48
Susan Mapfumo 50
The Broadway Quartet’s Andrew Chakanyuka 51
Lovemore Majaivana 52
Devera Ngwena Jazz Band 55
Zexie Manatsa 57
The Harare Mambo Band 57
Nyami Nyami Sounds 58
Safirio Madzikatire 59
David Scobie 60
Alton Edwards 61

4. Musicians, Record Companies and the Media 62

5. Music Places 76

6. Looking into the Future 82

Reference Section 89
Zimbabwe’s National Anthem 98

Mortaigne, Veronique: Cesaria Evora. La voix du Cap-Vert. Arles: Actes Sud, 1997. 203 p. ISBN 2-7427-1152-X

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Mortaigne, Veronique: Cesaria Evora. La voix du Cap-Vert. Arles: Actes Sud, 1997. 203 p. ISBN 2-7427-1152-X

CONTENTS

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Johnson, John William: ‘Heelloy’. Modern Poetry and Songs of the Somalis. London: HAAN Publishing, 1998. xxiii & 241 p. ISBN 978-1-874-20981-2

CONTENTS

Foreword to the first edition by B. W. Andrzejewski ix
Foreword to the 1996 edition by Abdilahi Qarshi xi
Preface to the first edition xv
Preface to the 1996 edition xxiii

1. Introduction
The social context 1
The Nature of Traditional Pastoralist Poetry 12
The Historical Development of Modern Oral Poetry 17

2. The Family of Miniature Genres
The Nature of the Family of Miniature Genres 27
The Poetry of the Miniature Family 32

3. The emergence of the Belwo
The Historical Background 49
The Belwo is Born 53
The Poetry of the Belwo 59

4. The Heello: Period One
The Metamorphosis: Belwo to Heello A 75
The Modem Poem: Heello A to Heello B 82

5. The Heello: Period Two
The Historical Background 95
The Poetry of the Second Period 103

6. The Heello: Period Three
The Historical Background 117
The Poetry of the Third Period 146

7. Characteristics of the Heello: All Periods
Themes Common to All Periods 175
Structural Characteristics and
Development Common to All Periods 190
The Impact of Media on Modern Poetry 208

8. Conclusion
The Inheritance of the Heello 215
Forces Behind the Success and Development of Modern Poetry 216

Collins, [Edmund] John: Fela. Kalakuta Notes. 2nd edition Middletown, Conn.: Wesleyan University Press, 2015.  xii & 326 p. ISBN 978-0-8195-7539-5 (paper) 978-0-8195-7540-1 (ebook)

CONTENTS

Foreword by Banning Eyre ix
Introduction 1

Part 1 Early Days
1 The Birth of Afrobeat 27
2 Joe Mensah Remembers 41
3 Fela in Ghana 49
4 Stan Plange Remembers 29

Part 2 Confrontation
5 Kalakuta is Born 67
6 “JB” Talks about Fela 73
7 The Kalakuta Republic 81
8 The Black President 114
9 Amsterdam and After 125

Part 3 Retrospect
10 Mac Tontoh on Fela 139
11 Frank Talk about Fela 152
12 Obiba Plays It Again 165
13 Smart Binete Sorts It Out 174
14 Anku Checks Out the Beat 178
15 Nana Danso Orchestrates 183
16 Some Early Afro-Fusion Pioneers 197
17 Interview with Fela 204
18 Afterthoughts and Updates 209
19. Felabrations at Home and Abroad 238

Chronology 259
Notes 269
Selected Bibliography 281
Discography 285
Appendix A: “Shuffering and Shmiling” Score 303
Index 309

Erlmann, Veit (ed.): Populäre Musik in Afrika. Veröffentlichungen des Museum für Völkerkunde. Neue Folge 53. Abteilung Musikethnologie VIII. Berlin: Museum für Völkerkunde, 1991. 312 pp. & 2 CDs. ISBN 3-88609-213-5

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Sweeney, Philip: Directory of World Music. A Guide to Performers and their Music. With Contributions from Peter Gabriel, Andy Kershaw, Giberto Gil [&] Manu Dibango. London: Virgin Books, 1991. 262 p. Section Africa 1-81 ISBN 0-86369-378-4

CONTENTS

AFRICA

The North and West
Introduction: Peter Gabriel 1
Libya 3
Tunisia 5
Algeria 6
Morocco 13
Mauritania 16
Senegal 17
Mali 20
Guinea 26
Guinea-Bissau 29
Cape Verde 29
Sierra Leone 31
Côte d’Ivoire 32
Ghana 34
Togo and Benin 36
Nigeria 37

Central Africa, The South and East
Introduction: Manu Dibango 42
Cameroon 44
Zaire 49
Congo 56
Gabon 56
Angola 57
Zambia 58
Mozambique 59
Zimbabwe 60
South Africa 65
Madagascar 70
Mauritius and Reunion 71
Tanzania and Zanzibar 72
Kenya 74
Uganda 76
Burundi 76
Ethiopia 77
Sudan 79

Lee, Hélène: Rockers d’Afrique. Stars et légendes du rock mandinque. Paris: Albin Michel, 1988. 223 pp. ISBN 2-226-03 139-1

TABLE DE MATIÈRES

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