Muziki

This article examines cultural and idiomatic narratives in South African Indigenous music, with specific reference to Johnny Dimba's "Dear Msakazi" and Buselaphi's "Umendo." The analysis is informed by conceptual metaphor theory (CMT), which conceptualises metaphor not merely as a stylistic or rhetorical device but as a fundamental cognitive and cultural mechanism through which individuals and communities structure experience and produce meaning. This theoretical perspective is particularly suited to analysing isiZulu song texts, where metaphor functions as a culturally embedded resource for articulating communal values, identity, and socio-political critique. Methodologically, the study adopts a qualitative research design grounded in close textual and thematic analysis of selected song lyrics, focusing on cultural codes, implicit meanings, and the negotiation of social realities embedded in musical expression. The findings indicate that the songs function as archives of cultural memory and collective identity, employ metaphorical and idiomatic language to convey emotional depth and social commentary, and reflect ongoing tensions between tradition and modernity within urban African contexts. The article concludes that Indigenous African music constitutes a dynamic cultural arena in which communities negotiate identity, validate lived experiences, and engage critically with socio-political realities, thereby contributing to both cultural continuity and broader public discourse.

The complexity and multifaceted nature of queer identity, particularly among adolescents, constitutes a significant area of inquiry. This article reports on a qualitative case study aimed at exploring the impact of a queer music therapy (QMT) model on a dyad of LGBTQ+ adolescents. The music therapy process was designed to facilitate the exploration and expression of queer identity. The study was conducted at a high school in South Africa with two participants. Data collection spanned a six-week period, during which a series of structured music therapy interventions grounded in the QMT paradigm were administered. Interventions included critical lyric analysis, music-centred art processes, musical autobiography, and group anthem writing. The findings were constructed from a thematic analysis of transcribed audio recordings from the sessions, as well as semi-structured interviews. The results show that the music therapy sessions provided participants with a space to explore their queer identities, as well as a space for acceptance, growth, and reflection. Through the reflexive thematic analysis, six overarching themes were identified: (i) navigating queer identity, (ii) mental health challenges and difficult spaces, (iii) the influence of religion, (iv) family interactions, (v) the need for understanding and acceptance, and (vi) the benefit of music therapy.

Music and social work share a deeply rooted history as instruments of healing, empowerment, resistance against oppression, and the promotion of social change. The article critically explores the unique intersection of social work and music as embodied in Nomfundo Moh, a South African award-winning Afropop musician and a qualified social worker. The article has three main objectives: (1) to explore how music, particularly sound and lyrics, functions as a medium for emotional healing and psychosocial support; (2) to examine how music is used to articulate and express experiences of Black struggle, resistance, and hope within a socio-political and cultural context; and (3) to understand how artists, such as Nomfundo Moh, perform and negotiate dual identities as musicians and trained social workers. This article is grounded in Afrocentric theory and is methodologically guided by a case study research approach, situated within an exploratory-descriptive design and an interpretive paradigm. Lyrical content from songs on Nomfundo Moh's albums and publicly available media interviews comprised the study's data. Thematic analysis of these data led to the emergence of three key themes: (1) healing through sound and lyrics, (2) music as a medium for expressing Black struggle and resistance, and (3) performing the self through a dual identity. On the basis of these findings two recommendations are proposed, namely (1) further research is needed, and (2) music and the creative arts should be integrated into social work interventions.

This article examines two songs from Jah Prayzah's Kutonga Kwaro album within the context of Zimbabwe's tumultuous political transition in November 2017. It explores how the songs reflect and influence the power dynamics in Zimbabwe during this period. Through desk research and analysis of digital platforms, the article examines the symbolic interaction between music and society, focusing on how Jah Prayzah's music resonated with the populace and the military during the transition from Mugabe's to Mnangagwa's presidency. The article situates Kutonga Kwaro as a cultural artefact that navigates and reflects Zimbabwe's complex social and political landscape, embodying its people's collective experiences and aspirations during a significant period of change. The analysis extends to the reception of Jah Prayzah's music, considering the artist's portrayal as a political prophet and the debates surrounding the prophetic versus coincidental nature of his album's themes. It also explores the challenges and criticisms faced by the artist in the aftermath of the political transition, highlighting the delicate balance between artistic expression and political affiliation in Zimbabwe's charged political environment. The article underscores the transformative power of music in Zimbabwe's socio-political context, illustrating how Kutonga Kwaro became a pivotal part of the narrative surrounding Zimbabwe's transition to a new political era. It emphasises the multifaceted role of music as a medium for social commentary, cultural expression, and political mobilisation, contributing to the ongoing discourse on the interplay between art and politics in African societies.

This article examines how the Eve folktale "Self-Serving" was adapted into a musical fable as a means of preserving oral traditions in contemporary society. Among the Eve people, folktales are not only stories but also performances that combine music, movement, and participation to teach values and strengthen community life. Today, however, these traditions are facing decline because of modernisation and changing cultural contexts. The study responds to this challenge by showing how creative adaptation can keep such traditions alive and meaningful. The work is guided by the 2003 UNESCO Convention on the Safeguarding of the Intangible Cultural Heritage, which calls for traditions to remain dynamic and continually renewed. The article demonstrates how compositional strategies such as rhythmic patterns that reflect character traits, musical contrasts that highlight moral lessons, and the use of gesture and audience participation transform the folktale into a staged performance that is both faithful to its roots and engaging for modern audiences. Beyond performance, the work underscores the educational value of folktales reimagined through music and drama. It concludes that the musical fable offers a practical model for bridging tradition and modernity, advancing UNESCO's vision of safeguarding intangible heritage while ensuring that Eve oral traditions remain vibrant, relevant, and resilient for future generations.

Sight-reading engages complex cognitive processes, yet fine-grained strategies for specific musical parameters remain underexplored. Using a Tobii X2-60 Hz eye tracker, this study aimed to determine how experts and amateurs process key and time signatures during real time sight-reading of simple (one-hand) and complex (two-hand) passages. Three areas of interest were analysed: initial key and time signatures, accidentals and time signature changes, and the first note of a bar. The results indicate that experts performed more accurately and modulated their gaze according to task complexity, increasing the number of fixations on key and time signatures in complex passages, whereas amateurs maintained a linear, note-by-note strategy. These findings suggest that expert sight-readers rely on pattern recognition and schematic processing while amateurs adopt effortful, localised strategies, and that rhythm and pulse processing engages cognitive mechanisms distinct from tonal processing.

Migration often leads to significant socio-cultural and psychological challenges, particularly for Zimbabweans living in South Africa, many of whom face the stigma of being labelled as "illegal" or "undocumented." This study explores how mediated music, defined as music circulated through digital and broadcast platforms, supports the well-being of Zimbabwean immigrants in Johannesburg. Drawing on self-reported experiences, this article demonstrates how listening to familiar music from home fosters emotional resilience, cultural identity, and community connection. Through mediated music, immigrants manage stress, alleviate feelings of isolation, and find temporary respite from the hardships associated with their precarious legal status. Music not only provides distraction from daily challenges but also serves as a motivating force and a conduit for nostalgia, helping immigrants maintain ties to their homeland while negotiating their new environment. This study highlights the critical role of music in improving subjective well-being, offering insights into how immigrants navigate identity and belonging through their musical choices.

This article explores the evolution of umaskandi recording practices, focusing on the transition from analogue to digital production and its impact on the genre's sonic identity. Umaskandi, deeply rooted in Isizulu music-making processes, has continuously adapted to emerging recording technologies, with umaskandi producers and omaskandi (practitioners) playing a pivotal role in shaping its sound. Rather than viewing technological change as a rupture between tradition and modernity, this study examines how umaskandi fraternity integrates digital tools while maintaining the genre's distinct musical aesthetics. To highlight how digitisation has transformed the genre's sonic character, the article employed a qualitative research methodology that combined historical analysis, technological exploration, and interviews with umaskandi producers. The findings reveal shifts in recording techniques, such as the move from live analogue tracking to digital layering and the creative strategies producers employ to preserve the raw, expressive qualities that define umaskandi genre. This study offers insights into the agency of omaskandi and its producers in navigating technological change, providing a nuanced perspective on how digital tools are harnessed to sustain and evolve cultural expression. Beyond musicology, the research contributes to broader discussions on cultural preservation, innovation, and artists' adaptive strategies in changing technological landscapes.

This article explores South African reggae musician Lucky Dube's song "Love Me (The Way I Am)" from a disability studies perspective, highlighting how Dube appears to refer to the marginalised experiences of children with disabilities in his society. A disability reading allows one to interpret disability themes in the song. Drawing on themes of rejection, invisibility, and the yearning for unconditional acceptance, I interpret the song as a critique of exclusion experienced by persons with disabilities. The analysis highlights how Dube's music serves as a social commentary vehicle that gives voice to marginalised identities and challenges societal norms that equate human worth with conformity and ability. The repeated plea, "I wish you could love me the way I am," expresses a longing for dignity, inclusion, and acceptance. Therefore, the song not only narrates the emotional realities of exclusion but also calls for a shift in societal consciousness, where disability is understood as a product of social barriers rather than individual deficit. The article affirms the role of music as a site of resistance and radical empathy in the broader struggle for social justice.

The study addresses critical gaps in Zimbabwean Sign Language (ZSL) pedagogy by examining the pedagogical intersection of ZSL and Zimbabwe musical arts and evaluating how integrating Indigenous musical epistemologies enhances learning outcomes for hearing and Deaf students. In Zimbabwe, the growing synergy between ZSL and music is evident in contexts like concerts, national anthem performances, and Deaf artists creating musical videos, prompting academia to incorporate music into ZSL curricula. The study posits that music, with its rhythmic and melodic qualities, significantly enhances ZSL pedagogy by improving memory retention, engagement, and expressive skills. Qualitative data collection methods, including interviews with educators and Deaf community focus groups, were used to collect the data. The findings reveal that integrating Zimbabwean traditional music fosters a multisensory learning environment (combining sight, sound, touch, and movement), which bridges cultural gaps and aids comprehension for Deaf learners, even as they engage with auditory elements visually. This approach not only supports linguistic acquisition but also cultivates cognitive, emotional, and social development, offering a holistic educational experience. The article advocates for policy driven adoption of music-infused ZSL teaching strategies, stressing the need for further research to address modern challenges in Deaf education and cultural preservation, positioning music as a transformative tool for inclusivity and cultural continuity.

Peter Tosh is often remembered as a militant icon of reggae resistance, a figure defined by defiance and confrontation. While this image captures aspects of his public persona, it risks obscuring the complexity of his character and the intentionality of his artistic expression. Tosh's autobiographical Wanted Dread and Alive album offers a compelling site for re-examining his self-representation and ideological stance vis-& aacute;-vis words of those who knew and worked with him. Drawing on multimodal critical discourse analysis, this study explores how Tosh deployed sound, cover artwork, colour symbolism, lexical choices, live performance, and literary devices to construct a nuanced socio-political identity. Musically, the album blends militant roots reggae with polished studio textures, marked by vocal intensity, melodic sophistication, rhythmic layering, and strategic use of minor key progressions, horns, and percussion. These sonic elements reinforce themes of resistance, identity, and spiritual defiance, while the album's visual and linguistic components reflect conscious artistic reflection and autobiographical intent. Tosh emerges not only as a cultural icon and political commentator, but also as a self-aware artist crafting a multidimensional narrative of self and struggle. The study contributes to scholarship on Peter Tosh by addressing the scarcity of academic literature on his person and work and advocating more accurate documentation of his beliefs, actions, and legacy. It also affirms the value of multimodal discourse analysis as a rigorous framework for interpreting complex cultural artefacts such as music albums, and highlights the role of music as a powerful medium for social change.

This article examines how Winky D's discography reflects Zimbabwe's intricate socio-political landscape, economic challenges, and evolving cultural identity. Winky D addresses Zimbabwe's struggles and aspirations. Grounded in symbolic interactionism, this study analyses the artist's use of language, cultural symbols, and metaphors. Winky D's music critiques Zimbabwe's postcolonial realities, offering poignant reflections on disillusionment with economic inequality and political leadership. The analysis focuses on key songs articulating these themes, showcasing how Winky D's work reimagines Zimbabwe's social future. Employing content analysis of selected tracks, supplemented by interviews with fans and critics, this article offers a comprehensive understanding of the artist's societal impact. It explores the role of Winky D's music in shaping collective consciousness, particularly among Zimbabwean youth. The article highlights the effectiveness of Winky D's music in fostering social change, as it creates a platform for resistance, dialogue, and the envisioning of alternative realities. Winky D's music transcends entertainment to serve as a vital medium for social critique and mobilisation. This study demonstrates the transformative power of music as a significant medium for social discourse, illustrating how Winky D's artistry catalyses collective action and societal transformation in Zimbabwe.

For many decades, the documentation of African music has been predominantly shaped by Euro-American scholars, largely driven by social anthropologists' exploration and academic interest in music, rather than musicologists or ethnomusicologists. Many social anthropologists, of which David Coplan is one, were motivated by their exposure to music performance as social anthropologists and the need to make African music accessible to a global audience, which had a limited reach and recognition in scholarly circles. This study explores the pracademic role of David Coplan as a semi-professional percussionist and a social anthropologist. The article centres Coplan's pracademic experience as a percussionist and anthropology scholar. Data were collected via several semi-structured interviews conducted with David Coplan (three face-to-face and two online interviews), access to his archival collection, and a general literature review, all of which highlight the pracademic role the artist and scholar performed as part of his academic career. I argue that pracademic scholars, as artistic researchers, applied ethnomusicologists, or performing anthropologists, bridge links between practice and research as embodied experience that informs their scholarly research output.

This article examines choral compositions by Thanduxolo Mahlangeni and Qinisela Sibisi, Black South African choral composers, through the lens of post-structuralism, using Kraidy's approach. Mahlangeni blends Nguni musical traditions with subtle Western influences. In contrast, Sibisi adheres strongly to Western models while incorporating African rhythmic sensibilities. Both composers use contrapuntal techniques in their work, specifically stretto. This article describes how these works could enhance the diversity of tertiary theory and analysis curricula. It advocates for an intercultural approach in music education that embraces and celebrates diverse musical traditions beyond Western norms. It also illustrates how hybridic South African choral music by Black composers can enrich global pedagogies.

This article discusses the need for an African-centred pedagogy in Ghanaian higher education, specifically critiquing the state of music theory and composition instruction. It provides a brief history of education in Ghana, highlighting past progress and future directions. A literature review indicates a lack of engagement in teaching practices, although alternative methods based on African musical arts are suggested. Focusing on three public universities in Ghana, the study explored the under-representation of African-centred pedagogy and sought to reimagine it through creativity and improvisation in music education. The findings show limited resources expended on Ghanaian musical arts and teaching materials compared with Western pedagogy. This gap affects the future of African musical arts in academic settings, underscoring the importance of reconnecting with cultural roots to foster teaching approaches that reflect African culture and identity.

This article explores "Illusions," a song by Nigerian artist Brymo, as a profound critique of neocolonialism and a blueprint for African emancipation. Employing close lyrical analysis, it examines how the song confronts the enduring legacy of colonial ideologies and the pervasive reliance on Western validation within postcolonial African societies. At the centre of this analysis is the figure of "Boyi," a symbolic character who embodies the postcolonial African condition-caught between inherited subjugation and the struggle for authentic liberation. The article traces Boyi's transformative journey through four critical stages-consciousness, journey, emancipation, and reclamation-arguing that Brymo constructs a deliberate narrative of liberation. This journey underscores the necessity of critical self-reflection, a decisive break from external approval, and the cultivation of a distinct African identity rooted in autonomy. In modelling this journey, Brymo's "Illusions" positions music not only as a site of resistance but also as a means of reimagining identity and power on African terms. This study contributes to the broader discourse on decolonisation and highlights the role of African popular music in challenging neocolonial narratives and articulating visions of liberation.

Jazz venues across African cities have become meeting places for diverse social identities, where people from different cultural backgrounds meet and share experiences. Lagos, one of the largest cities and the most populous cosmopolitan metropolis in Nigeria, constitutes a case to explore the cosmopolitan nature of jazz and the ways in which jazz venues have shaped transcultural identities and exchanges in Africa. This article focuses on the author's experiences in Lagos jazz circuits, Nigerian nightclubs, and the stage music scene for over four decades to tell the story of a regular jazz night at the Jazz 38 venue. The notion of "storytelling" is used to conceptualise the Jazz 38 experience between 1986 and 1995 and to explain how these experiences provide insight into jazz cosmopolitanism in Lagos.

In this article, I trace the history and examine the role of gbokos (commercial indigenised wind band formation) in nurturing the jazz sensibilities of members while contributing to the broader social fabric in Lagos State, Nigeria. I employ the method of collaborative autoethnography to construct this account, drawing on the experience I share with five other musicians with roots in the tradition to develop a narrative on gbokos which spans three decades (1978 to 2008). Furthermore, the article engages the respectability discourse as a point of departure into the concept of Omol & uacute;& agrave;b & iacute; (a Yor & ugrave;b & aacute; morality code) and how gbokos musicians negotiated this in cosmopolitan Lagos. More broadly, the article highlights a typical lived reality among gbokos musicians. The study found that although many conservative middle-class Christians are ambivalent towards gbokos, it supports burgeoning musicians. They derive social capital, foundational highlife, and jazz education through the peer-to-peer exchange of knowledge and musical materials, as well as economic benefits from the formation. Gbokos has thus become foundational to many thriving performance careers. The formation will better fulfil its role of raising musicians while contributing to the broader social fabric through an improved structure and (governmental and corporate) sponsorship. In turn, gbokos is potentially resourceful as a cultural hub for the government of Lagos State.

This article examines three choral works by the South African choral composer Sibusiso Njeza. The authors ask whether Njeza's musical background introduced him to multiple musical world-views, and whether his music displays characteristics of musical hybridity. To answer these questions, the first part of the article outlines Njeza's musical biography, highlighting key moments in his career that shaped and influenced his development as a composer. The second half of the article focuses on the matter of musical hybridity, using Mugovhani and Oluranti's framework of symbiosis and integration (broadly within post-structuralist theory as advocated by Kraidy) as a point of departure. Five aspects of the selected compositions are analysed: structure, text, melody, harmony, and rhythm. In each case, the authors ask whether the element analysed produces music which is uniquely South African or whether it is primarily Western with African elements. The overall finding is that Njeza was influenced at a seminal level by both Western and African musical world-views, and that the analysed works are predominantly symbiotic, with short passages which could be described as integrated.