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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
Inhalt

Brusila, Johannes; Philip Donner & Nina Winquist (eds.):
ZIMIA: The Forming of a Music Industry Association in Zimbabwe.
Helsinki: Mediafrica, 1992. 78 p.
Contents

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.
ContentsPDF Download / Télécharger / Baixar 13.90 MB

Capp, Myrna:
Keeping the Embers Alive. Musicians of Zimbabwe.
Trenton, N.J.: Africa World Press, 2008. 126 p.
Contents

Chikowero, Mhoze:
African Music, Power, and Being in Colonial Zimbabwe.
Bloomington, Ind.: Indiana University Press, 2015. 364 p.
Contents

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
Contents

Eyre, Banning:
Playing With Fire.
Fear and Self-Censorship in Zimbabwean Music.
Copenhagen: Freemuse, 2001. 99 p.
Contents

Eyre, Banning:
Lion Songs.
Thomas Mapfumo and the Music That Made Zimbabwe.
Durham, N.C.: Duke University Press, 2015. 362 p.
Contents

Kyker, Jennifer W.:
Oliver Mtukudzi. Living Tuku Music in Zimbabwe.
Bloomington, Ind.: Indiana University Press, 2016. 290 p.
Contents

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.
Contents

Makwenda, Joyce Jenje:
Zimbabwe Township Music.
Harare: Published by the author, 2005. 200 p.
Contents

Makwenda, Joyce Jenje:
Women Musicians of Zimbabwe.
Harare: Published by the author, 2013. 195 p.
Contents

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

Pongweni, Alec J. C.:
Songs that Won the Liberation War.
Harare: The College Press, 1982. 167 p.
Contents

Turino, Thomas:
Nationalists, Cosmopolitans, and Popular Music in Zimbabwe.
Chicago, Ill.: University of Chicago Press, 2000. 401 p.
Contents

Zindi, Fred:
Roots Rocking in Zimbabwe.
Gweru: Mambo Press, 1985. 101 p.
Contents

Zindi, Fred & M. Chirumiko:
Music Ye Zimbabwe: Zimbabwe Versus the World.
Harare: Zindisc Publications, 1997. xiii & 159 p.
ISBN 978-0-86922-360-4

Zindi, Fred:
Music Workbook. Zimbabwe Versus The World.
Harare: Zindisc Publications, 2003. 169 p.

Zindi, Fred:
Music Guide for Zimbabwe.
Harare: Zindisc Publications, 2010. 121 p.
ISBN 1-77905-138-8

Zindi, Fred:
Music Rocking from Zimbabwe. 2nd edition
Harare: Zindisc Publications, 2013. 242 p.

Page created 02/09/2017 © afrobib.com update 09/10/2018

  • 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

  • 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

  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

    CONTENTS

    Replace “English template – click Clone & Edit” (the popup name) with the common name for the Word contents file and the jpg file  (e.g. “mortaigne1997”)

    Insert name of author, title and place of publication in the text box.
    Text colour red. Title in bold. ISBN number in black and 10 px.

    Right side column:
    Button Text: Contents
    Button Title: Click here

    Class to Execute Popup: Insert “Shortcode” popuppress id number

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    Click on picture – and then click on “Remove”
    Place curser in front of “CONTENTS”

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    Image Margins: Set “Bottom” value i.e. 500
    Insert text from content file. Edit text and save. 

    Adjust  Bottom value if necessary and Publish pup-up
    Copy “Shortcode” including square brackets e.g. Índice and inset and replace it for “Contents” in the page with book list file.

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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

  • 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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  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

    afropop1995

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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

    sweeney1991CONTENTS

    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 MATIÈRESafropop1995

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