TOPIC 1

SUB SAHARAN INDIGENOUS MUSICAL ARTS

SOUTHERN AFRICA
Sub-sahara is part of the African continent that lies south of the Sahara desert. Su-regions of
this part of Africa include Southern Africa, Central Africa, East Africa and West Africa.

Southern Africa occupies the region further down south of the continent and it is a bloc of 15
countries including Zimbabwe. There is a rich history of indigenous musical arts activities in
this region, with each country having its own distinct musical arts traditions.

In this chapter, you are going to be learning abouth the musical traditions in Southern Africa.

Objectives
At the end of the sub topic learners should be able to:

1. Identify the indigenous groups of people in Southern Africa.

2. Analyse the history of musical arts in Southern Africa.
3. Describe the characteristics of song genres, instruments and dance styles in Southern
Africa.
4. Present at least one Southern African dance style.

Southern African countries and their Indigenous group of people

Below is a map of Africa showing some of the Southern African countries.

Fig 1.1

Map of Africa

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Indigenous groups of people in Southern Africa
COUNTRY INDIGENOUS GROUP

Botswana Tswana, Kalanga, Basarwa, Kgakagadi

Angola San, Mbunda, Herero, Himba, Lozi,

Xindoga

Zimbabwe Ndebele, Kalanga, Tonga, Shona

South Africa Khoikhoi, San, Tswana, Sotho, Zulu,

Xhosa, Khoisan, Tsonga, Bantu, Nguni

Namibia San, Herero, Himba, Zemba, Damara,

Kavango

Malawi Chewa, Sena, Nyasa, Lemba, Tumbuka

Mozambique Portuguese Mozambicans, Tsonga, Ndau,

Lemba, Gaza, Sena

Swaziland Swazi, Zulu

Lesotho Sotho

Zambia Tonga, Bemba, Lozi, Tumbuka

Table 1.1

Indigenous groups in Southern Africa

Activity 1

 Draw an African map and label all the fifteen Southern African countries.

History of Sub Saharan musical arts

The History of Southern African Region is based on its similarities in culture, languages,
ethnic groups, musical instruments and traditional dance styles. It is bound by the nature of
its notable dance styles spread through the region. For example, southern African people use
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their feet mostly when dancing (feet stamping), clapping of hands as well as the instruments.
These regional groups include various cultures of Bantu Speaking family ethnics like Zulu,
Xhosa, Swazi, Ndebele (Nguni family) peoples or Sotho/ Tswana people. A number of
factors contributed to the development of Southern African groups of people. These include:

 Migration due to population growth. People moved from one place to the other due to
overpopulation in their areas.
 Expansion of trade within Africa. Groups of people exercised trade beyond their
borders hence the mixing of different ethnic groups through intermarriages as well as
need for market access.
 Migration of people in search of resources, for example, groups moved from place to
place in search of fertile grounds.
 Bantu expansion which edged native African people to more remote areas of the
region.

Song Genres of Southern Africa

 The music of Southern African region encompasses genres consisting of a specific

style that is similar in most of the parts of the region. Most current genres in this
region are a mixture of two or more genres.

1. Indigenous Folk music

 These are songs that have unknown composers and they are passed on orally
from generation to generation. Examples of folk songs are Inobembela Njiba,
Tsika Dzedu, Chachimurenga to mention but just a few.
 In Zimbabwe, these songs were popularly performed by the likes of Thomas
Mapfumo and the late Chiwoniso Maraire.

2. Acapella Music

 This is singing without instrumental accompaniment. Some singers use their

voices to emulate the instruments.
 The term acappella means “in the style of the church.” This is because many
church songs long ago were unaccompanied by any musical instruments.
 One of the most well-known acappella vocal styles of South African music is
isichathamiya and imbube. It was performed mostly in South African mines by
men as a form of motivation.
 The most common acappella group is Ladysmith Black Mambazo which is an
all-male Zulu choir.

3. Kwaito

 The term kwaito was derived from the Afrikaans word kwaai, which translate
to “angry.” It is a mixture of various rhythms from marabi, kwela and
mbaqanga music. It was inspired by South African music legends such as
Miriam Makeba, Chicco Twala and Brenda Fassie. The genre emerged in
Johannesburg and was pioneered by the likes of Oscar Warona” Mdlongwa,

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 Mandla “Spikiri” Mofokengi, Mduduzi “Mdu” Masilela, Arthur Mafokate,
Trompies and many others.
 Instruments mostly played in Kwaito are percussion instruments, vocals, drum
machine.
 Below is a picture of one of the founders of kwaito music.

Fig 1.2

Oscar “Oskido” Mdlongwa

Activity 1

 Research on other music genres that are found in Music genres.

 Write a documentary of how these music genres started.
 List the names and give pictures of the pioneers of these genres.
 Give examples of their popular songs.

Instrumentation in Southern Africa

 Various instruments were used to accompany the singing and give beat and
rhythm to the dance styles.
 The musical instruments are as follows :

INSTRUMENT CHARACTERISTICS
The Mbira  The mbira dzevadzimu is a
Zimbabwe’s spiritual instrument.
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  It existed for more than a thousand
years.
 This type of mbira consists of 22 to
28 metal keys mounted on a
hardwood sound board (gwariva).
 It was usually used at traditional
gatherings (mabira).

Hosho  Zimbabwean musical instrument

 It consists of a pair of mapudzi
gourds with cocoon seeds though
nowadays other materials are used to
give the rattling sound.
 It was mainly used to accompany
mbira music and traditional dances.

Leg Rattles/Amahlwayi  Used by Zulu, Ndebele and Tswana

people
 Used in traditional dances which are
done during ceremonies like
weddings, funerals and celebratory
events.

The Drum  It is made of wood covered with

animal skin pegged on either ends.
 Popularly played in South Africa,
Botswana, Namibia, Zimbabwe,
Angola and other African countries.
 The drum has got various names
given according to the groups of
people using them.

Dance Styles

Isitshikitsha

Origins

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  It is a Ndebele traditional ceremonial dance which is believed to have
originated from the Zulu people from South Africa.
 The dance was brought to Zimbabwe by the Ndebele people during the
leadership of Mzilikazi, who migrated from the Zulu land.
 This dance is still popular in the Southern region of Africa, most practiced by
the Zulu in South Africa and the Ndebele society in Zimbabwe.

Purpose

 Historically it was performed for the King’s pleasure. It was also performed at
the injelele a rain making ceremony for the Ndebele people.
 It was also performed at traditional weddings or first fruit festival known as
Inxwala.
 Nowadays it is performed mainly for entertainment and recreational purposes.

Musical instruments

 The rhythm is created by the clapping that accompanies the isitshikitsha songs.
 It is also accompanied by women ululating and men whistling.
 No drums are used in this dance.

Choreography

 Performers form a semi-circle.

 One or two dancers are allowed to be in front at a time.
 The movement of the feet follows the same rhythm as the clapping of hands.
 Women do not lift their feet high to reveal the area above their knees.
 The clapping never change in all songs.

Fig 1.6

Dancers showing Isitshikitsha dance attire

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Basarwa (San) Dance

Origins

 The dance originated amongst the San people from Botswana.

Purpose

 The dance consists of four dances namely the hunting and gathering dance, healing
dance, wedding ceremony dance and puberty dance.
 However, on this San dance we will focus only on the hunting and gathering dance.
This is because the San’s main supply of food was game meat.
 The dance is performed to prepare the hunters and celebrating after a successful hunt.
 The dance is usually performed at night by young children and women.

Attire

 Long ago they wore skirts made from animal skin.

 Now they put on dark brown cloths to cover waists and the breast for the women.
 Men also put on a head gear while women wear beads around their heads.

Musical instruments

 A small drum is used while other performers clap their hands.

 Whistles are also used to accompany the movement and the singing.

Fig 1.7

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 San Dance Attire

Muchongoyo dance

Origins
 Muchongoyo is a Ndebele dance which was performed by men.
 The term muchongoyo means stomping of feet in Ndau.
 The dance is dominated by males while females sing and ululate.
Purpose
 It was a war dance performed to discipline the warriors before the war the dance was
also performed when the Ndebele warriors were celebrating after a victory.
 Nowadays it is used for entertainment in occasions such as the installation of chiefs,
good harvest, weddings and other gatherings.
Attire
 Men carried shields and sticks.
 They also wore animal skin to cover the lower part of the body. (amabhetshu/nhembe)
 A head gear was also worn by performers (indlukula).
Musical instruments
 The drum is the dominant instruments in the dance.
 Dancers also put on leg rattles.
Choreography
 Performers stamp their feet.
 Dramatic gestures are also important when performing the dance.
 Men mimic what they do during a war using their sticks and shields.
 Women are there for encouragement.

Fig 1.8

Muchongoyo dance attire

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The Xibelani Dance

Origins

 The xibelani dance is a dance of the Tsonga women of the Limpopo province in

northern South Africa.
 Xibelani means "hitting to the rhythm.”
 While the xibelani dance is customary for women, some men nowadays also
participate in the performance.

Purpose

 The dance is performed for occasions such as mkhinyavezo and kuchachula.

 It was also to accompany other traditional dances.
 It is also used in church and rituals.

Attire

 Tsonga women tie a type of African skirt the xibelani commonly known as "tinguvu"
around their waist and then shake from the waist.

Musical instruments

 The main instrument used by the Tsonga is the drum.

 Mbila is also used accompany the sounds of the drum.

Choreography

 The dance style requires the dancer to shake the hips in tune with the rhythm.
 The whole body should be used to guide the movements.
 The xibelani skirt makes the wearer's hips look bigger, and thereby to emphasize the
shaking.

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 Fig 1.9

Xibelani Dance Attire

Zulu Dance (Indlamu)

Origins

 Indlamu is associated with Zulu identity.

 It is derived from war dances.

Purpose

 It was a tribal war dance for the Zulu culture.

 The dance played a major role in celebrating weddings, the inauguration of a new
king, to communicate with the ancestors and other ceremonies.

Attire

 Warriors perform wearing full traditional attire.

 During the dance, men wear Amabheshu, headrings, ankle rattles and they carry
shields, spears or knobkerries.

Musical instruments

 The dance is accompanied by drums and whistle.

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  Women perform Ingoma while men perform Indlamu.

Choreography

 The dance involve the rhythmic movement of the legs and smooth hip movements.

Fig 1.10

Dancers showing indlamu dance attire

Conclusion

 The countries in the Southern part of Sub Saharan region have a lot in common in
terms of customs, languages and traditions though they have different names.
 When the origins of these groups are traced, it is evident that through migration and
colonisation, musical arts diffused throughout the region.
 Hence, the notable availability of similar instruments, the type of music as well as
dance styles around the region.
 Up to date, the musical arts have changed due to technology, as a result the existence
of modern contemporary music.

Activities

 Choose one Southern African dance.

 Gather the correct attire of the chosen dance.
 Learn the songs sung during the performance of the dance.
 Rehearse the dance moves.
 Perform the dance style for an audience at school of in your community.

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Page 12 of 168
Country Indigenous group History Song genre Instrumentation Dance Style
Namibia Kavango, Herero Originated from the Gospel, Kwaito Drums, (siyamboka, kwangali, Kwela
Great Rift Valley uudhano), bows
Zambia Tonga, Bemba Originated from the Traditional,Pop Flute(nyele), drums (namalwa) Nyau, Gule,
upper Congo basins
Lesotho Sotho Bantu ethnic groups Afro Pop, Jazz Flute (lekolulo),harps Mohobelo, Mokhibo
Zimbabwe Ndebele, Kalanga, Shona dynasties Folk songs, Pop Mbira, drum, rattles Isitshikitsha,Ingquzo
Tonga, Shona and some came , Jiti
from the Zulu state
South Africa Zulu, Khoikhoi, Came from a Kwaito, Clappers, drums, rattles Jive, Kwela,
Khoisan, Tsonga pastoral culture Marabi,Acappell
northern area of a
Botswana
Swaziland Swazi, Zulu Originated from Afro Jazz, Mouth Sibhaca
Nguni clans Hiphop bows(Isitontolo),harps(Isitolotolo)
Botswana Tswana, Bushmen Bantu speaking Folk,Afro Reed flute(mokoreje), Basrwa, Setapa,
origin jazz,Rock whistles,bows Phathisi
Mozambique Tsonga,Lemba Came through Folk Timbila, lupembe Marrabenta
Soshangane during
Mfecane
Angola San,Himba Stemmed from the Batuque, Kissange, Marimba Samba
great rift valley
Malawi Chewa, Nyasa From Zulu/Natal Afropop, Jazz Bangwe, kaligo Kwasakwasa
origin

Summary Table 1.1

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Summary

 Sub Saharan region is an area on the continent of Africa that geographically lies on
the south part of Sahara. It is a region that consists of all African countries that are
fully located south of the Sahara.
 Indigenous people are a group of people who share the same ethics that is, having
common racial, national, religious, or cultural origins belonging to a foreign culture.
 Majority of African ethnic groups in this region are Bantu speaking people including
the Zulu, Tsonga, Xhosa, Swazi, Ndebele, Tswana, Sotho, Shona and many others.
 It was shown that a number of factors contributed to the development of Southern
African groups of people. These include, the population growth, expansion of trade
within Africa, migration of people from one place to the other, Bantu expansion,
Process of colonisation.
 Musical instruments used in the Southern region were classified according to their
purpose as well as their characteristics. These include instruments like the voice,
hands, feet, hosho, hand and leg rattles, mbira, drums.
 The dance styles practiced in the Southern part of Africa varied according to its
purpose, the attire and the proper dance moves. These dances included the
Isitshikitsha dance, Muchongoyo, Indlamu, the Xibelani dance etc.

Conclusion

 The countries in the southern part of Sub Saharan region have similar customs,
languages, and traditions though they are called by different names.
 When we trace the origins of these groups, it is evident that through migration and
colonisation, musical arts diffused throughout the region.
 Hence, the notable availability of similar musical instruments, the type of music as
well as dance styles around the region.
 Up to date, the musical arts have changed due to technology hence the existence of
modern contemporary music.

Glossary

 Indigenous – native to a land or region, inborn or innate.

 Genre – a style or type of music.
 Origins – the point or place where something begins.
 Customary – commonly practised.

Exercise 1
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Choose the correct answer from the options given below.

1. All these are Southern African Countries except ________.

A. Zimbabwe
B. Mozambique
C. Morocco
D. Angola
2. All these are indigenous groups in Southern Africa except ________.
A. Khoi khoi
B. Zulu
C. Tsonga
D. Hausa
3. Which of the following did not contribute to the development of groups of people in
Southern Africa?
A. Trade within Africa
B. Migration of people
C. Colonisation Process
D. Discovery of instruments
4. Songs sung in Southern Africa accompany the following except ________.
A. Child birth
B. Dance styles
C. Hunting
D. Political activities
5. ________ is not a song genre for Southern Africa.
A. Rock music
B. Kwaito music
C. Acappella
D. Indigenous Folk Music
6. Musical instruments used in the Southern region are classified according to their
________
A. Purpose
B. Origins
C. Dance styles
D. Characteristics
7. Which of the following musical instruments is the odd one out?
A. The voice
B. The head rattles
C. The fingers
D. The feet
8. The mbira originated from which province?
A. Matebeleland
B. Mashonaland East
C. Manicaland
D. Midlands
9. ________ is not a Southern African dance style
A. Isitshikitsha
B. Koroso
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 C. Barankana
D. Muchongoyo
10. The dance attire in the picture below belongs to which group of people?

A. Tsonga (Shangaan )
B. Ndebele
C. Kavango
D. Tswana

Exercise 2

Choose the correct answer from the brackets to fill in the spaces below.

1. The Sub Saharan Region is an area in the continent of Africa that geographically lies
on the ________of the Sahara. (South/North)
2. Indigenous people share the same ________(surname/ethics)
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 3. In traditional music, hands were used for ________ (clapping/slapping)
4. The ________ was the first African group to be recording the song “The lion sleeps
tonight”. (acappella/imbube)
5. Ndebele people are an offspring of ________.( Zulu/Xhosa)
6. Amabheshu were commonly used by ............. as their dance attire. (Ndebele /Zulu)
7. The hosho were made from ________ gourds. (Mapudzi/Amahlwayi)
8. The hosho was constructed using the ________ seed. (cocoon/maize)
9. The Indlamu dance is practiced by ________. (men/women)
10. The ________ represented war when dancing the Indlamu dance. (headring/shield)

Exercise 3

Answer the following questions

1. Name and give the characteristics of the following musical instruments. [5]

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 I.

II.

III.

2. Briefly explain the foundation of Kwaito music genre. [5]

3. State the origin and the purpose of the Basarwa dance. [5]

Expected answers

I. The mbira dzevadzimu is a Zimbabwe’s spiritual instrument. It existed for

more than a thousand years. This type of mbira consists of 22 to 28 metal
keys mounted on a hardwood sound board (gwariva). It was usually used at
traditional gatherings (mabira).

II. It is a hosho. A Zimbabwean musical instrument. It consists of a pair of

mapudzi gourds with cocoon seeds though nowadays other materials are used

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 to give the rattling sound. It was mainly used to accompany mbira music and
traditional dances.

III. Amahlwayi is the name of the instrument. It was sed by Zulu, Ndebele and
Tswana people in traditional dances which were performed during ceremonies
such as weddings, funerals and celebratory events.

2. The term kwaito was derived from the Afrikaans word kwaai, which translate to
“angry.” It is a mixture of various rhythms from marabi, kwela and mbaqanga music.
It was inspired by South African music legends such as Miriam Makeba, Chicco
Twala and Brenda Fassie. The genre emerged in Johannesburg and was pioneered by
the likes of Oscar Warona” Mdlongwa, Mandla “Spikiri” Mofokengi, Mduduzi
“Mdu” Masilela, Arthur Mafokate, Trompies and many others.

3. The dance originated amongst the San people from Botswana. The dance consists of
four dances namely the hunting and gathering dance, healing dance, wedding
ceremony dance and puberty dance. The dance is performed to prepare the hunters
and celebrating after a successful hunt.

TEST 1
Answer the following questions True or False

1. Traditional folk music is music that is transmitted orally from generation to

generation. [1] (True)
2. Acapella music is singing while playing a piano. [1] (False)
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3. The term acapella was adopted from the Italian meaning “in the name of chapel.” [1]
(True)
4. Kwaito is a music genre that emerged in Johannesburg. [1] (True)
5. Contemporary music is music from the past. [1] (False )
6. List five factors which contributed to the development of Southern African groups of
people. [5]
 Population growth
 Expansion of trade within Africa
 Migration of people in search of resources
 Bantu expansion
 The process of colonisation
7. List three song genres found in the Southern region of Africa. [3]
 Acapella
 Kwaito music
 Traditional folk music
8. List three body parts which were used as musical instruments. [3]
 The hands
 The feet
 The fingers
9. What is the name of the instrument in the diagram below? [1]

(Mbira dzavadzimu/nhare)

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 10. Name the instrument in the diagram below. [1]

Hosho

11. Explai
n how
the

instrument is constructed and how it produces sound. [2]

 The hosho is made from mapudzi gourd and seed and they make a rattling sound
12. What is meant by the term Xibelani? [2]
 Xibelani is a Tsonga name meaning hitting to the rhythm

13. Describe two characteristics of the Xibelanni dance. [2]

 Women shake their hips in tune with the rhythm
 The whole body should be used to guide the movements.
14. What is meant by the word Muchongoyo?[2]
 Muchongoyo  is derived from kuchongoya which means stomping of feet
15. List two purposes of the Indlamu dance. [2]
 To provide entertainment in events such as wedding ceremonies and good harvest.
 It is used as a symbol of unity by the Zulu people.
16. Describe the attire won by men when dancing indlamu. [3]
 They wear animal skins (amabheshu)
 Headrings
 Ceremonial belts
 Ankle rattles
 Shields and spears
17. List the two types of rattles used in Southern region. [2]
 Head rattles
 Leg rattles

Choose the correct answer from the questions below

18. ________ is an indigenous group of the Southern region of Africa. [1](Tsonga/ Hausa)

19. ________ is not a song genre which originated in Southern Africa. [1] (Kwaito/Rock
music)

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20. The ________originated in Manicaland Province. [1](mbira/the drum)

END OF TEST

TOPIC 2
ZIMBABWE MUSICAL ARTS HERITAGE
Objectives

At the end of the topic learners should be able to:

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 1. Identify musical traditions of the Budya, Kalanga, Karanga and Korekore.
2. Name and distinguish the song genres found in the musical traditions and perform
selected songs.
3. Relate musical instruments to appropriate cultural groups and examine their musical
functions.
4. Outline the roles, context and meaning of the social and sacred dance styles.
5. Perform selected songs, play instruments and demonstrate the selected dance styles.
Introduction

 Zimbabwe is a nation with sixteen officially recognised cultural groups and

languages. All these cultural groups have different musical traditions and song genres.
It deserves mentioning that these various groups share common musical traditions,
instruments and traditional dances. This topic will cover the history of musical
traditions only in the following cultural groups:
i. Budya
ii. Kalanga
iii. Karanga
iv. Korekore.
 It will also cover the song genres found in the above mentioned cultural groups,
various musical instruments and their functions.
 How to perform different songs, traditional dances and play musical instruments from
these cultures.

MUSICAL TRADITONS
Musical traditions refer to the music played by a particular society or group and is passed
passed from generation to generation. The map of Zimbabwe below shows the regions
occupied by the Budya, Kalanga, Karanga and Korekore ethnic groups which are going to be
covered in this chapter.

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 Fig 2.1

Zimbabwean map

Musical traditions of the Kalanga

 The Kalanga people are found in the South-Western part of Zimbabwe and North-
Eastern Botswana.
 They were subjects to the Monhomutapa dynasty, therefore their music was
influenced by the Portuguese who came into contact three and half centuries ago.
 When the Ndebele people occupied the Western Zimbabwe the Kalanga became
subjects to the Ndebele people.
 The majority of the people lost interest in their traditional music and musical
instruments.
 This came as a result of the contact with modern civilisation and the influence of
missionaries.
 Missionaries taught the locals to regard their musical traditions as inferior and to
accept Western church music.
Karanga

 This is one of the Shona sub ethnic group.

 They are located in the south-central area of the country around Masvingo province.
 Karanga people were Iron Age people who knew how to mine and smelt metal. They
inhabited the Great Zimbabwe area.
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  It is believed that there is a relation between the Kalanga and the Karanga people as
their dialect is almost the same.
 Long ago the Karanga were being raided by the Ndebele army which is believed to
have been led by the Kalanga boys.
 A variety of mission groups accompanied colonial occupation of the area and
influenced many people to accept and adapt to Christianity. As a result church hymns
were introduced.
Korekore

 The Korekore people are situated in Mashonaland Central province around Mt

Darwin and Bindura areas.
 It is also one of the Shona sub ethnic group.
 The coming of the Europeans influenced the Korekore people to adopt the church
hymns.
Budya

 The father of the Budya was Nehoreka.

 They passed through many countries and this influenced their life style as well as
musical styles.
 They are said to have settled in Mutoko area after fighting and defeating Makate’s
people.
 War songs played a crucial part of motivating the warriors.
 The Budya people are well known for being tomatoes and mango farmers.
 Working in farms influenced the emergence of work songs that were sung when
people were harvesting.

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Song genres

Kalanga Karanga Korekore Budya

They can be categorised into

various groups as follows:
 Karanga music is both  Hunting songs – they  Mbira music – it was
Rain praying music. recreational and were songs used to used to appease ancestral
ceremonial. motivate hunters spirits.
 Wosana  Ceremonial music has to  War songs – they were  Work songs – as people
 Mayile do with the worship of sung by warriors. were working they used
Entertainment or happy the ancestral spirits. These songs were used songs to entertain
occasions.  Lullabies to encourage fighters themselves.
 Folktale songs – these are during the war  War songs – the songs
 Ndazula indeginous songs that  Work songs were used when
 Mukomoto were also sung when  Funeral songs – the celebrating victories and
 Woso telling folk tales. songs were meant to motivating warriors.
 Iperu  Satirical songs comfort the grieving  Ritual songs – were for
 Tshikitsha  Work songs families. communicating with
 Bhoro  Wedding songs – these  Ritual songs – meant ancestral spirits.
 Ncuzu/Muskhukhu were songs for for worshiping  These genres were
celebrating weddings. purposes. functional in secular
 Makwaya
Traditional music for healing  Love songs  Mbira songs situations where they
 Game songs – meant to  Jiti enhanced everyday
purposes.
make games more activities.
 Mazenge interesting.
 Sangoma
 Mantshomane

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 Table 2.1

Different song genres of different cultures.

Activity

Learners to sing the Kalanga song

Call: Banhu be Bukalanga

Response: be Bukalanga

Call: Batanani maboko

Response: nani maboko

Call: Hango yedu yabuda muhalima

Response: yedu yabuda muhalima

Call: Tjebukani mubone

Response: kani mubone

Call: Etjiya tjedza tjasvika

Response: tjedza tjasvika

Call: Hango yedu yabuda muhalima

Response: yedu yabuda muhalima

Instruments and their functions

Kalanga music

 Drums
There is need for an illustration of the drums and their names.
 Kalanga traditional music uses three drums. They come in different shapes and
sizes.
 These drums have special names which are tjamabhika the largest, shangana ne
shumba the medium and dukunu the smallest.
 When playing one can use sticks or hands.
 Many drums can be played for specific occasions such as weddings, various
religious rites, cultural festivals and rituals.
 Rattles
Illustration needed here
There are two types of rattles used in Kalanga songs to bring out the rhythm of the songs.
It also serves for step emphasis when performing dances such as wosana.

Page 27 of 168
  Hand held rattles (woso)
 Leg rattles (mishwayo)

Fig 2.2

Leg rattles (mishwayo)

 Nyele
 It is a type of flute that was played by boys whilst herding cattle.
Illustration needed here.
 Pemba
 It is a wind instrument that is used in traditional dances such as mukomoto and
iperu.
 It is blown rhythmically with the dancing by the lead singer.

Fig 2.3

Pemba

 Muhubhe

Page 28 of 168
 Fig 2.4

A man playing the muhubhe instrument

 It is one of the traditional Kalanga musical bows.

 This instrument was played for entertainment.
Karanga

 Ngoma/ingungu

Fig 2.5

Drums and hosho

 Magagada
 Hosho
 Chipendani
 Makube
Page 29 of 168
Korekore

 The Korekore mbira which can be called hera, matepe or madhebhe which has twenty
four metal keys.
 The mbira dzavadzimu.

Fig 2.6
Mbira dzavadzimu
 Three different drums which are:
 Mhito – the smallest which provide the basic pattern.
 Dandi – it can be played using sticks or hands.
 Mutumba – it produces low pitched sound. It is the largest.
 Mujeje – it gives a resonant sound when struck.
 Chipendani – a mouth-harp that was commonly paid by the herd boys.
 Hosho – used to mark the beat of the music and also accompanies singing.
Budya

Illustrations of all those instruments needed.

 Drums
 Trumpets and horns (Hwamanda, Nyere)
 Musical bows (Chipendani)

Fig 2.7
Chipendani
Page 30 of 168
  Hand rattles (Hosho)
 Leg rattle (magavhu/magagada)
 Mbira
 Wooden clappers (Hwakwati/makwa)

Fig 2.8

Men playing wooden clappers.

Always put illustrations of all the instruments you have mentioned above. Form 1
learners need pictures to match with the content text.

Activity

As a group:

 Divide each other into groups.

 Play rhythms using a different types of drums,
 Play hosho to accompany the drumming patterns.
 Choose a song that will blend with the rhythm created.
 Other learners without instruments can be clapping to the rhythm created.
Activity

 Gather two pieces of wooden planks

 Design own clappers
 Play various rhythms using the home made clappers.

Kalanga dance styles

 For the African, musical sound is rather incomplete if it is not accompanied by some
movement called dance.
 Wosana
 The dance is performed during the rain praying ceremony.
 It is believed that wosana dancers are specially chosen by their supreme God
Mwali.
Page 31 of 168
  Amajukwa
 It is a dance which was used to appease hunting spirits. The hunting spirit would
then tell where the game was plentiful.
 It was also performed when asking for the rain from God.
 The dance was also used for the worship of the ancestral spirits.
 For the purpose of entertainment the dance was performed in traditional
marriages, get together parties and other entertainment.
 Amabhiza
 Mukomoto
 Iperu
We need pictures or illustrations of all the dances above please.
Karanga dance styles

 Mhande
 It was a spiritual dance performed by the Karanga people during the “kurova
guva” ceremony.
 It employs indigenous religion or spirituality (chikaranga).
 Mbakumba
 It is meant for entertainment and is performed to a tempo that is faster than that of
mhande.
We need pictures or illustrations of all the dances above please.

Korekore dance styles

 Dancing is a useful way through which the community releases emotions.

 The frustrations of life, its joys and sorrows, all find expression in music and dance.
 Dances also have deeper significance, they are used to convey feelings of friendship,
hostility, and many others.
 The dances of the Korekore people reflect their response to the environment and their
culture.
 Mafuwe – one of the rain making dances of the Korekore. It was perfomed by the
women but now men also participate especially when the performance is for
entertainment.
 Dinhe – it has a religious purpose of inducing possession and is associated with
planting and harvesting.

Page 32 of 168
 Fig 2.9

Dancers performing dinhe dance at school

 Dandanda – a spiritual dance.

 Mangwengwendo – It is a performance that consists of spirit possession rites (bira)
and spirit reading performed by spirit medium.
We need pictures or illustrations of all the dances above please like what you did on Dinhe.

Budya

Dancing was an important aspect of the Budya culture, tradition, spirituality and history.
Dances that were performed by the Budya include the following:

 Mbira dance
 It is a traditional ritual dance accompanied by the Mbira instrument.
 The mbira dance was often used to lure spirits to come out through spirit
mediums.
 Jerusarema/Mbende

Page 33 of 168
 Fig 2.10

Dancers performing jerusarema dance

 It is a fertility dance that was performed by adults.

 When dancing the performers dance in a circular movement.
 Partners get into the arena, dance in turns showing their dancing skills while
others dance and clap.
 The other form of the dance is when one stands on one leg usually the left and
the right responds to the rhythm of the instruments.
 The drum is the dominant instrument played in this dance.
 The whistle is blown by the leader to signal the change in their dancing.
 The clappers (makwa) and hosho are used for the accompaniment and to
enhance the rhythm of the drum.

We need pictures or illustrations of all the dances above please.

Activity

 Choose and perform one traditional dance from the following:

 Wosana
 Amajukwa
 Mukomoto
 Find appropriate costumes for the selected dance.
 Rehearse until the dance moves are perfected.
 Perform the dances for a paying audience.
Activity

 Learners to gather instruments used in jerusarema dance that is:

 Drums
 Clappers
 Hosho
 Demonstrate the rhythm played on the drum, hosho and makwa.
 Perform the mbende dance and record the performance.

 The traditions of the above mentioned cultural groups are inter related therefore they
share some genres, musical instruments and dance styles.
 This is influenced by the cultural beliefs that are common amongst the shona ethnic
groups in Zimbabwe.

Page 34 of 168
Page 35 of 168
Summary table

Group History Song genres Instrumentation Dance styles

Kalanga The Kalanga are found in the  Wosana  Drums  Amantshomane

Western Zimbabwe and  Mayile  Woso  Wosana
North Eastern Botswana.  Ndazula  Mishwayo  Amajukwa
 Woso  Pembe  Amabhiza
 Tshikitsha  Nyele  Mukomoto
 Bhoro  Muhubhe  Iperu
 Ncuzu/Muskhukhu
 Makwaya

Karanga The Karanga are located in  Lullabies  Ngoma  Mhande

the south-central area of the  Folktale songs  Hosho  Mbakumba
country.  Satirical songs  Chipendani
 Work songs  Makube
 Wedding songs
 Love songs
 Game songs

Korekore The Korekore people are  Hunting songs  Mbira  Mafuwe

situated in northern  War songs  Mhito  Dinhe
Zimbabwe.  Work songs  Dandi  Mangwengwendo
 Funeral songs  Mutumba  Dandanda
 Ritual songs  Chipendani

Page 36 of 168
  Mbira songs  Hosho
 Jiti

Budya They are said to have settled  Mbira music  Drums  Mbira dance
in Mutoko area  Work songs  Hwamamda  Jerusarema
 War songs  Nyere
 Ritual songs  Chipendani
 Hunting songs  Hosho
 Magagada
 Mbira
Table 2.2

Summary table

Page 37 of 168
Summary

This topic covered:

 The history of the musical traditions of the following cultures, Kalanga, Karanga,
Korekore and Budya respectively.
 Various musical instruments mbira, drum, and their functions in the music and
dances.
 How certain dances are performed as well as how certain instruments are played.
Glossary

 Song genre – it is a type of a song.

 Sub ethnic – is defined by shared language, religion and nationality.
 Dominant – having influence over others
 Ritual songs – they are songs performed for traditions and religious purposes.

EXERCISE 1
Page 38 of 168
Choose the correct answer for the following questions.

1. In Zimbabwe the Kalanga people are found in ____________. (Gwanda/Plumtree)

2. __________ taught the locals to regard their musical traditions as inferior.
(Missionaries/Budya)
3. The Kalanga were subjects of the ___________ dynasty. (Monhomutapa/Ndebele)
4. Wosana songs and dance were performed for ___________. (entertainment/rain
praying)
5. ___________music was for healing purposes. (Mantshomane/Makwaya)
6. Game songs are sung when ___________. (working/playing)
7. Another name for the drum is ___________. (ngoma/hosho)
8. Mhande dance was performed by the __________ people. (Kalanga/Karanga)
9. ___________ is the smallest drum which provide the basic pattern. (Mhito/Mutumba)
10. The Budya people are located in the _________ area. (Masvingo/Mutoko)

EXERCISE 2

Answer the following questions.

Page 39 of 168
 1. Choose instruments that were not played in the Zimbabwean musical cultures.
[5]
o Chipendani
o Mbira
o Violin
o Whistles
o Harpsichord
o Contra bass
o Wooden clappers
o Tambourine
o Hand rattles
o Trumpet
o Leg rattles
2. Choose dance styles of the Zimbabwean musical traditions. [5]
o Wosana
o Rhumba
o Ballade
o Mbira
o Gwara gwara
o Jerusarema
o Samba
o Waltz
o Mhande
o Amajukwa
o Kizomba

EXERCISE 3

Outline the differences between Mhande and Mbende dance. [25]

Page 40 of 168
Expected answers

Mbende

 It is a fertility dance that was performed by adults

 When dancing the performers dance in a circular movement.
 Partners get into the arena, dance in turns showing their dancing skills while others
dance and clap.
 The other form of the dance is when one stands on one leg usually the left and the
right responds to the rhythm of the instruments.
 The drum is the dominant instrument.
 The whistle is blown by the leader to signal the change in their dancing.
 The clappers (makwa) and hosho are used for the accompaniment.
Mhande

 It was a spiritual dance performed by the Karanga people during the “kurova guva”
ceremony.
 It employs indigenous religion or spirituality (chikaranga).

EXERCISE 4

Answer the following questions.

1. List the musical instruments used when performing Karanga dances. [3]
Expected answers
Page 41 of 168
  Ngoma
 Hosho
 Magagada
 Chipendanii
2. Name the song genres of the Budya traditions. [2]
Expected answers

 Mbira music
 Work songs
 War songs
 Ritual songs
3. State the dance styles of the Kalanga. [3]
Expected answers

 Wosana
 Amajukwa
 Amabhiza
 Mukomoto
4. List the musical instruments used in Dinhe dance. [2]
Expected answers

 Ngoma/ingungu
 Hosho
5. State three names of the Korekore mbira. [3]
Expected answers

 Hera
 Matepe
 Madhebhe
6. List the names and sizes of the drums used when performing Kalanga. [3]
Expected answers

 Tjamabhika the largest

 Shangana ne shumba the medium
 Dukunu the smallest

EXERCISE 5

Write your answer on a separate answer sheet and click submit to compare your
answers with the ones given by the platform.

1. Outline the history of the Budya people. [5]

Expected answers

Page 42 of 168
  The father of the Budya was Nehoreka.
 They passed through many countries and this influenced their life style as well
as musical styles.
 They are said to have settled in Mutoko area after fighting and defeating
Makate’s people.
 War songs played a crucial part of motivating the warriors.
 The Budya people are well known for being tomatoes and mango farmers.
 Working in farms influenced the emergence of work songs that were sung
when people were harvesting.
2. Outline the difference between the history and musical traditions Kalanga and the
Karanga people. [10]

Kalanga

 The Kalanga people are found in the Western part of Zimbabwe and North
Eastern Botswana.
 They were subjects to the Monhomutapa dynasty, therefore their music was
influenced by the Portuguese who came into contact three and half centuries
ago.
 When the Ndebele people occupied the Western Zimbabwe the Kalanga
became subjects to the Ndebele people.
 The majority of the people lost interest in their traditional music and musical
instruments.
 This came as a result of the contact with modern civilisation and the influence
of missionaries.
Karanga

 This is one of the Shona sub ethnic group.

 They are located in the south-central area of the country.
 Karanga people were Iron Age people who knew how to mine and smelt
metal. They inhabited the Great Zimbabwe area.
 It is believed that there is a relation between the Kalanga and the Karanga
people as their dialect is almost the same.
 Long ago the Karanga were being raided by the Ndebele army which is
believed to have been led by the Kalanga boys.
 A variety of mission groups accompanied colonial occupation of the area and
influenced many people to accept and adapt to Christianity. As a result church
hymns were introduced.
3. Briefly explain the Jerusarema dance and list the uses of instruments during the
performance. [10]
 It is a fertility dance that was performed by adults.
 When dancing the performers dance in a circular movement.
 Partners get into the arena, dance in turns showing their dancing skills while
others dance and clap.
 The other form of the dance is when one stands on one leg usually the left and
the right responds to the rhythm of the instruments.
 The drum is the dominant instrument played in this dance.
 The whistle is blown by the leader to signal the change in their dancing.

Page 43 of 168
  The clappers (makwa) and hosho are used for the accompaniment and to
enhance the rhythm of the drum.

TEST

Choose the correct answers from the text box and fill in the missing gaps.

Kalanga 1 Ndebele 2 Ingungu 3

Mhande 4 mbira 5 spiritual 6

twenty nine 7 chipendani 8 drum 9 rain making 10

Page 44 of 168
 1. Amajukwa and wosana are dance styles performed by the_________.
2. The karanga people were raided by the _________ army which is believed to have
been led by the Kalanga boys.
3. ________ is the Ndebele name for the African drum.
4. ________dance was performed by the Karanga during the “kurova guva” ceremony.
5. Madhebhe is one of the Korekore __________ name.
6. Dandanda dance performed by the Korekore is a ________ dance.
7. The Korekore mbira has ________ narrow keys.
8. A mouth-harp that was commonly played by the herd boys is called __________.
9. In jerusarema dance the ________ is the dominant instrument.
10. Mafuwe is one of the ________ dances of the Korekore.

Match the following instruments with the cultures they originated from.

Instruments Cultural groups

11. Mbira Budya

12. Nyele Kalanga

13. Hera Korekore

14. Muhubhe Kalanga

15. Makube Karanga

Match the following dances with the cultural group their associated with.

Song genres Cultural groups

16. Jerusarema Budya

17. Dinhe Korekore

18. Mbakumba Karanga

19. Mafuwe Korekore

20. Amabhiza Kalanga

Page 45 of 168
TOPIC 3
ZIMBABWE LIBERATION WAR MUSICAL ARTS
MUSICAL ARTS IN THE FIRST CHIMURENGA/UMVUKELA
Objectives

At the end of the topic, learners should be able to:

1. Identify songs sung during the first Chimurenga/Umvukela war.

2. State the roles of musical arts in the war.
3. Analyse the musical texts of the war songs
4. Perform selected first Chimurenga/Umvukela war songs.

Introduction

Page 46 of 168
  The first Chimurenga is now celebrated in Zimbabwe as the first war of
independence. In Ndebele language, Chimurenga can be understood as Umvukela.
This was the Ndebele-Shona revolt against the injustices of the British South African
Company (BSAC), which occurred in 1896 to 1897. However the rebellion failed
completely and did not result in any major changes but further injustice of the BSAC
policy. For example the hut tax was implemented which was payable in form of
money, labour, grain or stock. Mashonaland and Matabeleland became Rhodesia
under the administration of Cecil John Rhodes. The first Chimurenga was led by
leaders such as Kaguvi, Mapondera and Nehanda.
 This topic will cover the songs that were sung during the First Chimurenga/Umvukela
and the roles of musical arts in the war.
 It will also focus on the musical texts of the war songs and performance of the songs.

Songs sung during the first Chimurenga/Umvukela

 The word Chimurenga came from the name of Murenga an early ancestral and warrior
of the Shona people.
 The term Umvukela meant an uprising by the Ndebele people against the white
settlers.
 In the first Chimurenga/Umvukela a lot of songs were sung by the liberation fighters,
below we will indentify some of the songs.
 Tora Gidi uzvitonge
 Kugara Musango
 Muka! Muka!
 Chimoto
 Ndiro Gidi
 Titarireyi
 Zvikomborero
 Tshaya amathambo
 Lingababulali
Activity
 Learners to research on other songs sung during first Chimurenga/Umvukela war in
pairs.
Roles of musical arts in the war

 Song, dance and drama played a vital role in the first Chimurenga/Umvukela war.
 It motivated the fighters to go on in the wake of difficult and painful conditions.
 Music would boost the morale of the fighters.
 Educate the masses about the importance of the war and also to sympathise with the
fighters.
 Music would sooth the fighter’s hearts especially when the enemy killed their loved
ones.
 Dance and music encouraged the fighters to continue with the struggle and also
propelled their anger.
 The picture below shows fighters dancing ready to go for a battle.

Page 47 of 168
 Fig 3.1
Fighters dancing

 Pungwes were also performed by both the freedom fighters and the masses in order to
entertain and educate the masses about the aims of the struggle for independence.
 It was during this time when the purpose and aspirations of the struggle were
explained to the ordinary people in the evening through music and dance.
Musical texts of the war songs

 The songs sang during the Chimurenga/Umvukela had a meaning on why the
Zimbabweans were fighting the whites.
 The songs below tells us a story on why the Zimbabweans fought for liberation war.
1. Mbuya Nehanda
Mbuya Nehanda kufa vachitaura shuwa
Kuti tinotora sei nyika ino
Shoko rimwe ravandiudza
Tora gidi uzvitonge

Mbuya Nehanda kufa vachishereketa

Kuti tinotora sei nyika ino
Shoko rimwe ravakatiudza
Tora gidi uzvitonge

Vadzoka kuhondo, shuwa here

Vakamhanya mhanya nemasango
Page 48 of 168
 Vakatora anti-air
Kuti ruzhinji ruzvitonge.

 This song brings out the spirit of togetherness to the fighters during the war.
 ‘’Tora gidi Uzvitonge’’, which means ‘’take up arms and liberate yourself’’ gave the
people the morale to continue with the struggle.
 This song celebrates the traditional African religion through the famous spiritual icon
Mbuya Nehanda.

Fig 3.2
Mbuya Nehanda and sekuru Kaguvi
2. Lingababulali
Lingababulali heya
Lingababuli heya
Babe bulalo obaba
Lingababulali abelungu
Babe bulalo obaba

 The song was sung after the white people killed a lot of black fighters in the First
Chimurenga.
Page 49 of 168
  It was meant to sympathise with the remaining Ndebele fighters.

3. Kugara musango’’
Hungwe hungwe iyo
Yarira hungwe
Kugara musango

Hungwe hungwe iyo

Yarira hungwe
Kugara musango

Takauya tirivangani
Yarira hungwe
Kugara musango

Ikozvino tavangani
Yarira hungwe
Kugara musango

 This song depicts how the freedom fighters of the First Chimurenga stayed in the
bushes like birds.
 It was sung by the freedom fighters in memory of their fellow fighters who had died
during the war.
 Their numbers reduced, hence they were forced to surrender.
More first Chimurenga pictures can be of use here like.
Activity 1

 Learners to choose one Chimurenga/Umvukela song.

 Interpret the lyrics of the song.
Activity 2

 Learners to role play the first Chimurenga/Umvukela.

 Include the roles played the leaders such as Kaguvi and Nehanda.
 Perform different songs that were done during this period.


Summary

Page 50 of 168
  This topic covered songs sung in the First Chimurenga which include songs like
Chimoto, lingababulali and Tora gidi uzvitonge.
 The roles of musical arts in the war.
 It also covered the meaning of the first Chimurenga song texts.
 In this topic, it is noted that some of the songs in the first Chimurenga/Umvukela were
also sung in the second Chimurenga.
 All the songs were related in a way, because they were sung to sympathise, entertain
and boost the morale of the freedom fighters.
Glossary

 Sooth – reduce pain.

 Propelled – push or drive.
 Pungwes – All night gatherings.
 Aspirations – ambition of achieving something.
 Dwindled – reduce or becoming less.

Page 51 of 168
Exercise 1

Choose the correct answer from the brackets to complete the sentences below

1. The word ________ came from the name Murengo an early ancestral and warrior of
the shone (Chinamano/Chimurenga)
2. The term ________ meant an uprising by the Ndebele people against the white
settlers. (Umvukela/Umvikela)
3. The song ________ was sung in the First Chimurenga.( Kugara musango/Nzira
dzemasoja)
4. ________ would boost the morale of the freedom fighters. (Food/Music)
5. Music would ________ the fighter’s hearts. (sooth/seal)
6. The purpose and aspirations of the struggle were explained during ________.
(Parades/Pungwes)
7. The song ________ brings out a spirit of togetherness. (Tora gidi uzvitonge/Chimoto)
8. The song ________ was sung to sympathise with the Ndebele fighters.
(Emoyeni/Lingababulali)
9. The ________ talks about how the freedom fighters stayed in the bush. Kugara
(musango/Ndiro gidi)
10. ________ song celebrates the traditional African Religion. (Muka Muka/Tora gidi
uzvitonge)

Page 52 of 168
Exercise 2

Answer the following questions with the correct answers on a separate answer sheet.

1. List any five songs which were sung in the First Chimurenga. (5)
2. State the roles of musical arts in the war. (5)
3. Name and explain the meaning of any one war song. (5)

Expexted answers

1. Ndiro Gidi
- Lingababulali
- Titarireyi
- Muka Muka
- Tora gidi uzvitonge
- Tshaya amathambo
- Zvikomborero
2. Motivating freedom fighters
- Educating the masses about the war.
- Sooth the fighter’s hearts when the enemy had killed their loved ones.
- Boost their morale.
- It was also a form of entertainment.
3. Kugara musango
- It talks about how the freedom fighters of the First Chimurenga stayed in the
bushes like birds.
- They sung this song in memory of their fellow fighters who had died during the
war.

Page 53 of 168
Exercise 3

State whether the following statements are true or false.

1. Music would boost the morale of the freedom fighters. True/False

2. The word Chimurenga came from the name Chinamano an early ancestral. True/False
3. The term Umvukela meant an uprising by the Ndebele people against the white
settlers. True/False
4. Kugara musango is a First Chimurenga song. True/False
5. Lingababulali is a Second Chimurenga song. True/False
6. Music demotivated after the fighters after the death of a fellow fighter. True/False
7. Dance encouraged the fighters to continue with the struggle. True/False
8. Pungwes were performed by both the freedom fighters and the masses. True/False
9. Tshaya amathambo song means take up arms and liberate yourself. True/False
10. Lingababulali was sung when the white fighters killed lot of Ndebele fighters.
True/False

Page 54 of 168
Exercise 4

Answer the following question.

1. Outline the role played by musical arts in the first Chimurenga. [10]

Expected answers

 It brought the spirit of togetherness amongst the fighters during the war.
 Soothed the fighters’ hearts and sympathised with the remaining fighters after losing
fellow comrades.
 It motivated the fighters to go on in the wake of difficult and painful conditions.
 Music would boost the morale of the fighters.
 Educated the masses about the importance of the war and also to sympathise with the
fighters.
 Music would sooth the fighter’s hearts especially when the enemy killed their loved
ones.
 Dance and music encouraged the fighters to continue with the struggle and also
propelled their anger.

Test 1
Page 55 of 168
Choose the correct answer

1. The word Chimurenga came from the name of ________.

A. Nehanda
B. Kaguvi
C. Murenga
D. Chitepo
2. The term Umvukela meant an uprising by the ________.
A. Tonga
B. Ndebele
C. Venda
D. Shona
3. The following are first Chimurenga songs except.
A. Kugara musango
B. Zvikomborero
C. Nzira dzemasoja
D. Chimoto
4. The following are roles of musical arts in the war except.
A. Lowering the fighter’s morale.
B. Motivating the fighters.
C. Form of entertainment.
D. Boost their morale.
5. ________ did not play a vital role in the first Chimurenga/Umvukela.
A. Sleeping
B. Music
C. Dance
D. Drama
6. ________ would boost the morale of the fighters.
A. Walking
B. Sleeping
C. Music
D. Cooking
7. ________ were performed by freedom fighters and masses for entertainment.
A. Marches
B. Pungwes
C. Parades
D. Biras
8. Which song gave the people the moral to continue with the struggle.
A. Tora gidi uzvitonge
B. Emoyeni
C. Titarireyi
D. Chimoto

Select the correct answers from the given list in question 1and 2

9. Identify the songs of the first Chimurenga. (6)

o Dzira Dzemasoja

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 o Tshaya amathambo
o Tora gidi uzvitonge
o Emoyeni
o Titarireyi
o Muka Muka
o Zvikomborero
o Hondo mayiona
o Chimoto
10. Identify the vital roles of the first Chimurenga. (4)
o Music
o Sleeping
o Dance
o Cooking
o Drama

Answer the following questions with the correct answers on a separate sheet of paper.

11. State any three roles of musical arts in the war. (3)
12. Analyse the meaning of the song lingababulali. (2)

Expected answers

11. Educate masses about the war.

- boost the morale of the freedom fighters.

- Motivate freedom fighters.

- Form of entertainment.

12. The song was sung to sympathise with the Ndebele fighters who had lost their fellow
comrades during the Umvukela war.

TOPIC 4
ZIMBABWEAN MUSICAL ARTS HYBRIDITY

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MUSICAL HYBRIDITY

Objectives

At the end of the topic, learners should be able to;

1. Outline the history of musical hybridity.

2. Describe musical hybridity trends over time.
3. Trace the movement of musical hybridity among cultural groups.
4. Name musical hybrid popular artists.
5. Perform selected works from a variety of musical arts hybrids.

Introduction

 When two or more different musical genres are mixed, they form a musical hybrid
genre. The fusion of two or more different musical genres gives a new musical style.
In Zimbabwe there are many hybrid genres, for example when one merges mbira
music and sungura they come up with a new unique genre. When a hybrid genre is
formed it is given a new name according to the creating artist,s preference. However,
some hybrid genres still have no specific names.
 In this form learners will cover musical hybridity focusing on:
 The history of musical hybridity.
 Musical hybridity trends.
 Movement of musical hybridity among cultural groups.
 Popular artists of musical hybrids.

History of musical hybridity

 Musical hybridity is the mixture of different music styles and form to create a unique
music genre.
 The existence of these mixture of different musical styles was due to outside
influences that included;
 Cross-cultural exposure
 Colonialism
 Migration
 Advancing technology
 Ilanga musical band is an example of a group that sang hybrid music. Their songs
were mostly a fusion of traditional music and jazz. This was mainly because it
composed of band members from different cultures, these include:
 The late comrade Chinx (Dickson Chingaira)
 Busi Ncube from South Africa.
 The late Andy Brown from Zimbabwe.
 Keith Farquharson also from SouthAfrica.
 Don Gumbo and many others.

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 Fig 4.1

Some of the Ilanga band members

 Zimbabwean musical hybridity was as a result of the introduction of technological

tools such as radio, television, computers, instruments and the internet. After
independence many people were exposed to Western music and culture through
watching televisions and listening to foreign music from the radio. The technology also
allowed them to listen to music from neighbouring African countries, as a result they
adopted other musical styles and fused them with the indigenous styles of Zimbabwe.
 Most music styles were adopted from the modern way of performing. For example jiti
is a musical genre which combines African drumming, call and response and
European-style harmonics.

Scope of musical hybridity

 Music has changed to suit the audiences and the changing times. Zimbabwean
musicians were also forced by the same fact to move from their traditional ways of
music-making. This is evident by the creation of many new genres in Zimbabwe.
 European music influenced more in formation of hybrid genres because it was the only
form of music they listened to, as it was played on radio and television.
 In order to make a living, some Zimbabwean musicians adopted foreign music styles.
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  Foreign musical instruments like the concertina from British settlers, the banjo, violin
and the guitar were adopted.
 Below are some of the instruments which were adopted from the Western culture.

Concertina
Piano

Guitar
Saxophone

Fig 4.2

Western instruments

Activity 1

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  List other foreign musical instruments that influenced Zimbabwean music to
change.
 List local artists who sing hybrid music.
 Perform atleast one song from a variety of musical hybrid genres.

 In shebeens, musicians played home-made guitars, concertinas, pianos and home-made

percussion instruments.
 They produced a new genre called township music.

Fig 4.3

Homemade oil can guitar

 Some traditional Ndebele and Shona songs had their tunes given new words from the
Christian bible.
 British colonialists taught Zimbabweans military music, like brass band music that was
used by the army for military functions.
 Today the national army and the police force of Zimbabwe both have bands that play
this style of music.

Fig4.4

Zimbabwe military brass band

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Musical hybridity trends

 Musical hybrid trends are the changing styles of music due to various factors. In
Zimbabwe the factors that influenced the change of indigenous musical styles include
the introduction of technology, cultural exposure and colonialism.
 Missionaries viewed African culture as backward and associated Zimbabwean
indigenous music and its instrumentation with paganism. Therefore they imposed
Christian music on Africans.
 The music took the form of hymns, and the church became an important vehicle for
the introduction of Western Music.
 Early township music was fused with Makwayera music (choral music) and
Omasikandi, a genre that was similar to country music and performed by solo artists
accompanied by the guitar.
 An example of musical change is evidenced by the song “chemutengure”. It was
composed in the late 1800 and still popular today. The song was originally meant and
performed only on the mbira, but nowadays it is performed being on the mbira
accompanied by guitar, marimba and drums.
 Musicians started to mix American jazz with African traditional folk styles.
 This created the genre now called township music.

Diffusion of musical arts

 Musical arts diffusion is the spread of Zimbabwean musical arts across cultures and
abroad. It is the fusion of two or more core genres to produce a new musical art genre.
 Most musical genres that were fused with Zimbabwean indigenous musical genres
were adopted from other countries after independence. After independence many
Congolese and Tanzanian bands visited Zimbabwe to perform in popular venues like
Mushandira Pamwe Hotel in Harare. This influenced the creation of Sungura music
which is a hybrid music style in Zimbabwe. Sungura music was also influenced by
Benga music from Kenya, It was then fused with local genres such as mbakumba,
mhande, jiti and many other indigenous styles.
 Local artists such as Nicholas Zachariah claim to have grew up listening to songs
from other countries such as Tanzania, Kenya and South Africa. Many genres were
popularized through the radio. It was through listening to these songs that helped local
artists to establish their own musical styles.
 Many local artists moved to other countries such as South Africa and overseas in
search of greener pastures and ended up adopting foreign musical styles, which they
fused with the local music genres creating their own hybrid genres. These include
bands such as the Ndolwane super sounds which is now based in Johannesburg. This
band merged the mbaqanga and maskandi music from South Africa with their own
Zimbabwean traditional folk to create their Ndolwane music.
 They realized that their music could receive some appreciation from European and
American audiences.
 This trend was also fuelled by foreign promoters of international popular music and
recording companies who since 1980 increased their scouting for African musicians.
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  Therefore Zimbabwean musicians started to consider the overseas market for their
music.
 Foreign artists also performed shows in Zimbabwe bringing their own styles of music.
For example the Jamaican reggae musician Bob Marley performed during the first
independence celebrations in 1980. This resulted in some local artists such as
Solomon Skuza adopting and incorporating reggae into their musical styles.

Musical hybrid artists

 Hybrid artists are those artists that fuse two or more genres to come up with their own
musical styles. Most artists nowadays have fused various music genre to produce their
own hybrid genres.
 In Zimbabwe there are many hybrid music artists and these include the following:

ARTIST CORE GENRES HYBRID GENRE

1. Oliver Mtukudzi Jazz, dinhe, marimba and Afro jazz or “Tuku” music
mbira

2. Lovemore Traditional folk and Pop music

Majaivana mbaqanga

3. Thomas Mapfumo Mbira and reggae Chimurenga music

4. Winky D Dancehall, raga, hip hop and Zim dancehall

reggae

5. Ex Q RnB and hip hop Urban grooves

6. Beatar Mangethe Kwela, soul music Afro pop

isichathamiya

7. Sandra Ndebele Rumba, kwela, traditional Afro pop

folk

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 8. Cephas Mashakada Gospel, jiti Sungura

9. Aleck Macheso Rumba, Kanindo, Simanje Sungura

manje, mbakumba

10. Jah Prayzah Mhande, mbakumba, No name for the genre

reggae, R&B

Table 4.1

Hybrid artists and their hybrid genres

Activity 2

 Research on popular hybrid music genres in Zimbabwean.

 State the core genres that were fused to create the hybrid genre.
 Give names of music artists associated with the hybrid genres.

Activity 3

 Research on materials used to make a homemade oil can guitar and create one.
 Gather all the required materials to make the guitar.
 Assembly the different parts and make own oil can guitar.
 Play different chords on the guitar.

Activity 4

 Choose one musical hybrid style and perform one song from that genre.

Summary

In this topic learners covered musical hybridity focusing on:

 The history of musical hybridity.

 Musical hybridity trends.
 Movement of musical hybridity among cultural groups through mediums like radio
and television.
 Popular artists of musical hybrids like Oliver Mtukudzi, Bundu boys, Solomon Skuza
were mentioned.
 Colonisation played a major role in transforming the music-making of the country.
This was due to foreign musical instruments that were brought in by the white settlers.

Glossary

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Hybrid music – the stlye of music which came as a result of merging two or more music
genres.

Fuse – to mix or merge

EXERCISE 1
Choose the correct answer and fill in the spaces below.

1. _________ is the mixture of different music styles to create a new style of music.
(Hybridity/Composing)
2. One factor that influenced hybridity is __________. (colonialism/chimurenga)
3. Traditional music means the same as_________ music. (Modern/Indigenous)
4. _________music influenced change of the traditional music in the townships.
(Indigenous/European)
5. One foreign instrument brought by the missionaries is the_________.
(Concertina/Mbila)
6. Missionaries associated Zimbabwean indigenous music and its instrumentation
with_________. (Christianity/paganism)
7. A popular hybrid music genre formed in the township is __________.
(amarabi/imbube)
8. The flooding of __________musicians created unfair competition for the local musicians and
forced them to take their performances out of the country. (foreign/local)
9. The Jamaican __________musician Bob Marley was invited by the Zimbabwe
government during Independence Day celebrations in 1980. (reggae/rock)
10. Solomon Skuza created music influenced by _________reggae sound. (Bob
Marley/Jah Prayzah)

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EXERCISE 2
Answer all the questions.

1. Define musical hybridity. [2]

2. List 3 factors that influenced hybridity of music in Zimbabwe.[3]
3. Which any two traditional instruments were introduced into the missionary churches?
[2]
4. Give an example of a missionary church that uses these instruments.[1]
5. Which Zimbabwean music genre is sung by Winky D?[1]
6. Name one musical artist that composed amarabi song genre music.[1]
7. List at least two core genres that contributed in the creation of sungura music. [2]
8. Sacred music was now performed for which other purpose besides sacred reasons in
townships?[1]

Expected answers

1. Musical hybridity is the mixture of different music styles and form to create one type
of music.
2. Colonialism, migration, technology.
3. Hosho and the African drum.
4. Methodist, Anglican, Roman Catholic, Reformed Church in Zimbabwe.
5. Zim Dancehall.
6. Solomon Skuza
7. Rumba, Kanindo, Mhande, Mbakumba
8. For entertainment.

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Exercise 3
Answer the following question.

1. Discuss the factors that influenced the formation of sungura music genre in
Zimbabwe. [10]

Expected points

 Many genres that were popularized through the radio.

 Local music genres such as mbakumba, mhande, jiti and many other indigenous
styles.
 After independence many Congolese and Tanzanian rhumba bands visited Zimbabwe
to perform in popular venues like Mushandira Pamwe Hotel in Harare. This
influenced the creation of Sungura music which is a hybrid music style in Zimbabwe.
 Sungura music was also influenced by Benga music from Kenya.
 The introduction of guitars.

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Test 1
Choose the correct answer from the text box to fill in the spaces below.

1. Zimbabwean music hybridity was as a result of television and _______.

2. One foreign instrument brought by the missionaries is the_________.
3. Black urban workers found entertainment in_________.
4. A popular hybrid music genre formed in South African townships is __________.
5. Music changes to suit the________ and changing times.
6. Benga music is a hybrid musical style from ________.
7. Musical hybridity trends are the__________ styles of music.
8. Musical arts diffusion is the _________ of Musical arts across cultures.
9. Township music is a mixture of African traditional folk music and __________.
10. Missionaries associated Zimbabwean indigenous music and its instruments with
________.
11. The __________ was an important contributor in the introduction of Western music.
12. Sungura music is a ________ genre.

radio(1) audience (5) concertina (2) hybrid (12)

Kenya (6) American jazz (9) shebeens (3) changing

(7)

amarabi (4) spread (8) church (11) paganism (10)

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 13. Name the instrument below and state how it is played. [3]

Guitar – it is played by strumming the strings.

Answer all the questions

14. What caused local musicians to take their music outside Zimbabwe? (1) (they were in
search of greener pastures)
15. What is Makwayera music? (1) (African style of choral music)
16. Which traditional song composed in 1800s is now being performed using western
instruments such as the piano? (Chemutengure)
17. Which any two traditional instruments were introduced into the missionary churches?
[2] African drum and hosho
18. Give an example of a missionary that uses these instruments.[1] Roman catholic

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TOPIC 5
ZIMBABWEAN POPULAR MUSICAL ARTS
Objectives
At the end of the sub topic learners should be able to:

1. Outline popular musical arts of the pre -colonial era.

2. State the importance of popular musical arts in pre colonial period.
3. Name popular musical genres of the era.
4. Demonstrate popular musical arts styles of the era.
5. Create works informed by the musical arts of the era.

Introduction

 Precolonial Zimbabwe was a multi-ethnic society inhabited by the Shangani, Venda,

Tonga, Kalanga, Ndebele, Karanga, Zezuru, Korekore, Manyika and Ndau. Before
Zimbabwe was colonised by the British, it had an interesting culture and history. The
discovery of ruins such as the famous Great Zimbabwe shows that Zimbabwe has
been inhabited for hundreds of years and was highly developed at the time it was
built. Before the colonial rule the area was ruled by dynasties which include the Great
Zimbabwe, Mutapa kingdom and the Rozvi dynasty. Their way of living relied
heavily on mining, trade and agriculture. This influenced their musical arts as they
could make instruments out of iron, animal skin, animal horns, trees and fruit shells.
Foreign musical styles and instruments were brought to the country through
interaction with traders from other countries.
 In this form learners will cover popular musical arts in the pre-colonial era, looking at
the dance styles, instrumentation, props and attire of these various ethnic groups.

POPULAR MUSICAL ARTS IN PRE COLONIAL ERA

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  Zimbabwean music has played an important part in the country’s cultural history and
shaping social relationships. It is difficult to trace the origins of Zimbabwean pre-
colonial music. This is because there is no documented information on musical arts
during pre-colonial period. It is however known for a fact that there were a lot of
musical activities in Zimbabwe long before it was colonised. Music in Zimbabwe is
believed to have begun at the beginning of human kind. For example the drum was
used to send messages to others as well as when celebrating important events.
 In early Zimbabwean societies, songs, dance and performance reflected the people’s
aspirations and expectations. Some songs narrated their way of living and history.
 Everything done was expressed through song and dance. Pre-colonial societies danced
for joy, grief, sorrow and even during labour and work.
 Thus, music and dance summarised the experiences of people and were communally
owned and enjoyed. It was music for the people, about the people and by the people
themselves. Quite a number of musical instruments were already being played during
this era and these include Chigufe, Hwamanda, hosho, Chipendani, Mbira and
Marimba. Some of the instruments were however imported into Zimbabwe from
countries such as Mozambique.

INSTRUMENT NAME OF THE

INSTRUMENT

 Chipendani

 Chigufe

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  Hosho

 Hwamanda

 Marimba

Fig 5.1

Pre-colonial period musical instruments

What is oral tradition?

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  It is a message transmitted by word of mouth from one generation to another. Elders
with the knowledge are the ones who passes the message to the young generations. It
is important to pay attention when listening to messages passed orally so as to
understand and be able to pass on the exact message. It does not require a person who
can read or write. Songs from the past were also transmitted orally from one
generation to another. These songs were only preserved by memory.
 It deserves mentioning that some of the songs passed through oral tradition changed
with time. This is because oral tradition does not maintain the same value of oral
history therefore some songs might have changed the actual lyrics

Importance of Oral Tradition

 People long ago could neither read nor write, hence oral tradition played an important
role in preserving the Zimbabwean history, culture, songs and dances. It is through
oral tradition that some of the ancient songs and dances still exist in the modern
Zimbabwe.
 Historical poems and songs are intended to pass on to the next generation an account
of important events. Songs were used to express people’s culture, history, ideas,
beliefs and struggles. These songs were a form of oral tradition used also to pass
unwritten ethical and moral values. This was important as it helped in maintaining
cultural identities in Zimbabwe.
 Oral tradition was important as it glorified deeds of rulers and their ancestors.
 Through oral tradition generations and generations were taught about wars and deaths
of famous men. This information was also passed through historical poems and songs
that were never written down.
 From these poems and songs, historians can learn about the political events and
attitudes of the societies from the past.
 Praise poems and songs were meant to record the praise names, the victories and
glorious qualities of the Kings and their ancestors. Such information is very important
to generations to come so that they can understand the history of their forefathers. For
example Ndebele praise poetry reflects that the Ndebeles have always emphasized
military exploits (amabutho) as the military status was their pillar of strength.

Pre Colonial Song genres

The music of the precolonial period in Zimbabwe was mainly dominated by the traditional
music and dance. Music was created for different occasions and it was shared by different
communities. It was during the pre-colonial period that music was used as a medium of
communication and as a means of expression by people. The power of music has indeed
shaped the nation and has continuously evolved over the years. There are many music genres
that existed in the precolonial era. These include the following:

 Praise songs
 These were songs performed specifically for praising those in authority, such
as the King and the good works they did. Songs such as “Chaminuka
ndimambo” praised the one of the great Shona chiefs.
 Hunting songs

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  They were used mainly when hunting. These songs encouraged hunters
whenever they went for hunting.
 Bridal songs
 Even before the coming of the whites in Zimbabwe, local people could marry
and organise weddings. These wedding songs played an important role in
entertaining people during these gatherings.
 War songs
 These were sung by the community to encourage the warriors before going to
war and songs for victory after the war.
 Work songs
 Songs like “Sevenza nhamo ichauya” were sung during working in fields for
motivation and encouragement amongst the groups.
 Folk songs
 These are traditional songs that were peculiar to different cultural groups in
Zimbabwe
 Healing songs
 Long ago people believed that only the traditional healers were able to heal
other people as they could communicate directly with the ancestors. As a
result many healing songs were composed and were performed during these
healing ceremonies.
 Mbira songs
 They were only sung during the spiritual ceremonies like the “bira” and
“kurova guva ceremonies. It was believed that the mbira songs appeased the
ancestors.

PRE-COLONIAL ARTS PERFOMANCES

Dance styles, Attire and Instrumentation

 Zimbabwean dances were performed for three main purposes which are religious,
social and ceremonial.
 Dance is a genre that carries the spiritual , cultural and social identity of Zimbabwe
 Dance styles of the colonial era were categorised according to their purposes.
 They served different purposes and functions in the community and all the dance
styles were performed for particular occasions at different times of the year.
 The dance styles that were common in the Pre-colonial era are Mbende, Mhande,
Muchongoyo, Shangara, Mbira dance, Mbakumba, Isitshikitsha, Chihoda, Amabhiza
to mention but just a few.
 All these dances were performed for different activities and functions like hunting,
entertainment, mining, harvesting, healing, spiritual ceremonies and even whilst
working in fields or domestic duties.
 The table below shows some of the dances mentioned above. It also outlines their
song genres, purposes as well as explain the type of instruments used to accompany
the dance as well as the dance props and attire.

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 DANCE STYLE ATTIRE and Props INSTRUMENTATION

Mbende  Nhembe  Drums

 Ngundu (head gear)  Whistle
 Hosho
 Clappers

Isitshikitsha  Imisisi  Amahlwayi

 umvatsho (head gear)  Clapping
 brooms
 amabeshu
 izigejo
 indlukula
 They carry sticks or a
knobkerrie
Amansthomane  isigogo to cover their  Ingungu
breasts  Amahlwayi
 Put on red and white  Hand clapping
beads and big snake
 Male cover their private
parts with strips of skin
usually of leopard,lions
 Isidlodlo(head gear)
Muchongoyo  Madhumbu  Drums
 Hosho
 Hwamanda
 Whistle
(ferengwana)
Shangara Dance  tsvimbo yavasekuru  Drum
 All performers do not  mbira,
wear shoes.  clappers
 magavhu
 hosho
 Dishes
 Gallons
 Bucket
 heavy clapping
Table 5.1

Activity 2

Research more on the following dances paying particular attention to the attire and
instruments used.

 Mbira dance
 Mhande
 Chihoda
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  Amabhiza
 Showcase the attires of these dances.

Purposes of dances

Jerusarema dance

 It was a fertility dance performed by married people only.

 It is now used for entertainment and other indigenous dance competitions.

Isitshikitsha dance

 It was commonly performed at Injelele (A rainmaking ceremony).

 The dance was also performed for the King’s pleasure.
 It is now performed for recreational purposes.

Muchongoyo was a war dance.

 It was a Ndebele war dance performed to discipline the warriors before going to war.
 It could be performed when celebrating a victory after the war.
 The dance does not have any religious features instead it highlights the historical
events.
 It also performed for entertainment these days.

Shangara dance

 This was a merriment dance.

 It was also performed at functions like kurova guva and bira ceremonies.
 The dance was accompanied with beer drinking and performed mainly where people
were expressing happiness of any nature.

Activity 1

 As a group, choose two traditional dance styles.

 Prepare proper attire for each dance.
 Look for the instruments used in the dances.
 Practice playing the instruments.
 Research on the songs and dance moves of each dance.
 Rehearse on how to perform each dance.
 Perform for a paying audience

Images of the Pre Colonial activities and dance attires

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 Fig 5.2 Fig 5.3
Hunting and gathering Pre colonial era drums

Fig 5.5 Fig 5.6

Hunting dance ceremony Itshoba

Fig 5.4 Fig 5.7

Pre colonial dance attire Leg rattles (magavhu)

Secular music

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It is music that is composed for the enjoyment of audiences, not for the church.

Importance of Pre-colonial musical arts

 Communicative nature of music and dance creates a high degree of social interaction.
 Pre-colonial musical arts nurture and promote the Zimbabwean indigenous cultural
transformation.
 It reflects social and cultural community relationships.
 Cooperation and creativity.
 Musical arts brought people together through recreational gatherings.
 Accompanies the life of an African from birth to the grave
 Unifies, bonds and strengthens the community
 Pre-colonial musical arts preserves the ideology of ubuntu-munhu munhu pamusaka
pevanhu / umuntu ngumuntu ngabantu/a human being is a human through association
with other human beings

Activity 2

 Learners to identify all traditional dances of the pre colonial era and select only the
secular dances.
 Perform at least one secular dance.

Summary

This topic covered:

 The precolonial history of Zimbabwe and the ethnic groups that were found in the
area.
 The popular musical arts in the pre-colonial era and looked at the importance of oral
tradition in preserving music, dance styles.
 The instrumentation, props and attire used in various traditional dances.
 The importance of popular musical arts in the pre-colonial era as well as naming
popular musical arts of that period.
 Secular musical traditions.

Conclusion

 Music is an ever present feature of daily life. Music in the pre-colonial era was
influenced by the people’s way of life at that time. Music expressed their daily
activities, mood and feelings, and the way different communities of the era lived. No
written documents existed at this time but musical arts were passed on through oral
tradition. Dance styles of the era served different and several purposes at one time and
songs, dance, attire and musical instruments were multi-cultural. The pre-colonial
period lasted up to around 1890 before the colonisation by the whites. The pre-
colonial period was the period of the great states like Great Zimbabwe, Rozvi State
and the Ndebele State.

Glossary

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  Secular music - It is music that is composed for the enjoyment of audiences, it is not
for specific religious group.
 Oral Tradition - Verbal messages, spoken or sung which are statements from the
past transmitted from generation to generation.
 Narrative – a spoke or written account of connected events.

Exercise 1

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Match the following dance styles to their purposes in the table below

Dance style Purpose

1. Isitshikitsha Rain making ceremonies

2. Shangara For merriment

3. Muchongoyo War dance

4. Jerusarema Fertility dance

5. Amantshomane Appeasing healing spirits

Table already matched

Match the following instruments to their possible function in the table below

Instrument Function

1. Amahlwayi Gives a rattling sound as the dancer dance

2. Hand clapping Accompany the rhythm

3. Drums Gives the rhythm of the song

4. Hosho Accompanies the drum patterns

5. Wooden clappers Emphasises the dancers step

Table already matched

EXERCISE 2

State whether the questions below are TRUE OR FALSE.

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 1. Jerusarema dance was performed in spring. (True / False )
2. Isitshikitsha originated from Zululand and was brought in by Ndebele group during
the leadership of Mzilikazi. True / False
3. “Imisisi” were worn by male dancers while performing Isitshikitsha. True /False
4. The person with the “ntshomane” spirit would be identified by his ability of catching
game. True / False
5. Muchongoyo was a male dominated dance. True/ False

Match the following dances to their descriptions in the table below

Dance Description

6. Muchongoyo It was a Ndebele war dance dominated by

men.

7. Shangara It was accompanied with beer drinking and

found where people were expressing
happiness of any nature

8. Isitshikitsha It was a dance performed by the Ndebele

people when asking for rains.

9. Amansthomane It was a dance used for communicating with

ancestral spirits.

10. Jerusarema It was a fertility dance performed by the

Zezuru people

Table already matched

Exercise 3

Choose the correct answer from the brackets and complete the questions below

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 1. Pre-colonial societies had dances for sorrow, grief, joy and ________. (work/business)
2. Music was communally owned and ________(enjoyed/entertained )
3. Oral tradition is the ________message passed from generation to generation. (written/verbal)
4. Collections from the past should be commonly known in a given society and should be
transmitted over a ________ period of time. (long/short)
5. Praise songs were used to praise those in ________ for the good works they did.
(authority/prison)
6. War songs were sung by the community to ________ the warriors before going to war.
(encourage/persuade)
7. Songs like “sevenza nhamo ichauya “were sung while working in fields for ________.
(motivation/entertainment)
8. Protest songs were sung to _________ for those in authority. (entertain/protest)
9. Zimbabwean dances were performed for three main purposes, religious, ________ and
ceremonial. (social/economic)
10. Secular music is music not meant for the ________. (tradition/church)

Exercise 4

Answer the following question.

1. State the importance of pre-colonial musical arts in the modern day Zimbabwe. [10]

Expected points

 Teaches people of the Zimbabwean cultures from different ethnic groups.

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  Narrates the precolonial history of Zimbabwe and the ethnic groups that were found
in the area.
 It also narrates the history of famous leaders of the nation.
 Reveals the musical instruments that originated in the country.
 Important occasions that required music and dance.

TEST 1

Answer the following questions

1. What is oral tradition? (2)

Expected answer
 Oral tradition are messages passed from generation to generation using the word of
mouth
2. Give one importance of oral tradition (1)
Possible answers
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  They transmit everything vital to a particular society.
 They pass on to the next generation an account of important events and history.
 Preserved culture and history by glorify deeds of their rulers and their ancestors.

Choose the correct answer from the brackets to fill in the questions below.

3. In early societies, songs, ________ and performance reflects the people’s expectations.
(dance/attire)
4. Everything done in the pre colonial era was done through ________ and dance. (poetry/song)
5. “Ntshomane” is a ________ spirit. (hunting/healing)
6. “Mbende” is another name for ________ dance. (jerusarema/mhande)
7. ________societies danced for sorrow, grief, joy and even during labour and work.
(Precolonial/modern)
8. Music was communally owned and ________ (enjoyed / entertained )
9. Collections from the past should be commonly known in a given society and should be
transmitted over a ________ period of time. (long/short)
10. Pre colonial period lasted up to ________ centiry( 19th /18th )
11. Praise songs were used to praise those in ...................... for the good works they did.
(authority/trouble)
12. War songs were sung by the community to ________ the warriors before going to war.
(encourage/demotivate)
13. Songs like “sevenza nhamo ichauya” were sung while people were ________.
(working/fighting)
14. ________music was performed during spiritual ceremonies like bira and kurova guva
ceremonies. (mbira/folk )
15. Protest songs were sung to ________ for those in authority. (entertain/protest)
16. Zimbabwean dances were performed for three main purposes, religious, ________ and
ceremonial. (social/economic)
17. Secular music is music not meant for the ________ (tradition/church)
18. Dance styles of the pre colonial era were categorised according to their ________.
(activities/purposes)

TOPIC 6
DOCUMENTATION OF INDIGENOUS MUSICAL ARTS
Objectives

By the end of the topic, learners should be able to:

1. Outline indigenous song genres.

2. Identify indigenous folktales.
3. Interpret song genre and folktale musical texts.

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Introduction

 Long ago folktales and songs could not be written down, it was passed only through
the word of mouth. This result in many songs and folk tales being lost and some
changing their original contexts. The introduction of technology enabled these to be
kept safe for periods of time. Nowadays songs and folktales can be written down and
stored in files for future use. They can as well be recorded using different devices
such as voice recorders, smartphones and stored in computers or drives. This enables
people to easily retrieve the songs and folktales for replay whenever needed. This is
important as it ensures that the songs will be passed to generations to come without
any alterations.
 In this topic, learners will cover indigenous song genres that include;
a) Folktales
b) Works song
c) Lullabies
d) Hunting songs
e) War songs
f) Ritual songs
g) Satire
 Different indigenous folktales will be looked at and their song texts.

MUSICAL ARTS OUTLINE

Indigenous song genres

Folktales

 These are stories that were often told long ago by grandmothers to provide
entertainment for children in the evenings between supper and bedtime.
 These stories were usually accompanied by songs so that the audience would not
get bored as they will participate in the singing.
 The content of these songs proved that people are ready to consume that which
speaks to their Unhu/Ubuntu/Vumunhu.
 Some of the folktales were a foundation to the songs that were later composed by
our musicians. For example Marko Sibanda’s song, “dhongi namvuu” which was
a folktale that he converted to a song. The bhundu boys also released a song
“simbimbino” which was based on another shona folktale.
 Folktales played an important role in educating and entertaining both the young
and the old.
 They are also used to express the people's way of life.
 Most folktales represent the hopes and aspirations of the majority of people in
the society and are used to pass on and preserve cultural values of the group.
 The stories help in showing how society views itself and also conveys their
ideas of justice, rights and social responsibility of its citizens.
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  Laziness, greed and selfishness are therefore portrayed negatively as possible with
the use of characters such as the hare in the folktale ‘‘uMvundla loNteletsha” who
always suffers for his unwise behaviour.
 On the other hand, goodness, honesty and unity are portrayed as important
qualities which the heroes and heroines of folk tales always use to overcome their
problems.
Activity 1

 Find folk songs from different cultures.

 Master the story line of at least one folktale.
 Sing the chosen folktale as a song.

Lullabies

 A lullaby is a soothing song usually sung to children.

 The purpose of lullabies is to pass down cultural knowledge or tradition.
 They are often used for developing of communication skills, indication emotional
meaning, maintenance of the baby’s undivided attention, putting the child to sleep
and regulation of behavior.
 There are many lullabies that are were sung in Zimbabwe, an example of a common
lullaby is the song “thula thula sana.”

Thula thula
Thula thul’, thula baba, thula sana,

Thul'ubab’ uzobuya, ekuseni.

Thula thul, thula baba, thula sana,

Thul'ubab’ uzobuya, ekuseni.

Kukh'inkanyezi, zi-holel' ubaba,

Zimkhanyisela indlel'e ziyak-haya,

Sobe sikhona ka bonke bashoyo,

Bayathi buyela. Ubuye le khaya.

Thula thula thula baba,

Thula thula thula sana.

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 Translation of the song Thula thula

Hush, hush, hush-a-bye little man, be quiet baby,

Be quiet, Daddy will be back in the morning.

Hush, hush, hush-a-bye little man, be quiet baby,

Be quiet, Daddy will be back in the morning.

There's a star that will draw him home.

It will illuminate his path home to

where we are. All will urge on,

they’ll say, go back. He returned to this home.

Hush, hush-a-bye baby

Hush, hush-a-bye baby.

Work songs

 Work songs are usually sung for two reasons which are:
 To bring together the work of a group of people working together to improve
their efficiency.
 To relieve the boredom of a tiresome job to improve the lives of the workers.
 In the Africa society, work songs are sung during work in the home, mines and
fields.
 Dances such as ingquzu and the gumboot dance emanated from these work songs.
Ritual songs

 Are also called religious songs.

 This is occasional music used in rituals, for supplications and for spiritual upliftment.
 Other songs are used for worship, initiation, magic and for healing purposes.
 Ritual music is sacred and is viewed as having supernatural power.
 Diviners are known for communicating with the divine being through songs which are
occasionally accompanied with rhythm instruments such as mbira, hosho and drums.

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 Fig 6.1
People playing mbira songs during a bira

 Most of these songs are praise songs composed to glorify or praise the holy being
and to prepare for easy communication so that they may get the replies that satisfy
them.
 Religious music inspires the worshippers to express their loyalty to the divine being.
 These songs have three main purposes, reparation, thanksgiving, petition and
denouncing evil spirits.

War songs

 War songs are sung during war periods and at the war front.
 The role of music during times of war is to seek supernatural assistance, ensure
success.
 Songs sung by soldiers at war fronts, encourages soldiers to move into the battle
field confident that they have conquered.
 Other compositions played a unifying role as they created a strong bond among the fighters
who were drawn from different tribal, geographical backgrounds.
 Songs like “Nzira Dzemasoja” guided the conduct of the guerrillas in the bush.
 The song spoke of how a soldier must behave, to obey rules and regulations, not to
exploit or rob the masses, return anything confiscated for military reasons.
 Songs like, “Tumira Vana Kuhondo” were meant to mobilise young men and women
to join the war of liberation.

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Satire

 This is the use of humour, irony, exaggeration, or ridicule to expose and criticize
people's foolishness or vices in current politics and other topical issues that affect a
society.
 These types of songs in the tradition setup are meant to be humorous.
 The purpose however is constructive social criticism which uses humour to draw
attention to these issues.
 Satirical songs have been regarded as the most effective source to understanding a
society.
 They provide insight about a certain group of people; they reveal deep values and
the society’s structure of power.
 These are used to expose and ridicule the leading figures in politics, economic,
religious spheres.
 Satire songs expose problems by individuals in the society.
 It offers freedom to mock important individuals and resolve social tension.

Indigenous folktales

 UMvundla loNteletsha
 Simemelwane
 Kutonhodwa kwaChauruka
 Vasikana vakaroorwa nemadzvinyu
 Tsuro nashumba
 Kamba rino bata mvura

ACTIVITY 1
 Research folktales and their songs.
 Look for the meaning of the song text and deduce lessons from it.

ACTIVITY 2
 Research war song and their lyrics.
 Deduce what the lyrics mean and how they were used during war.

Summary

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In this topic, learners covered:
 Indigenous song genres such as work songs, ritual songs, war songs, lullabies and
satire.
 An example of and African lullabies and their lyrics were transcribed.

Glossary

 Satire – is the use of humour, irony or exaggeration to expose and criticize

people's foolishness or corruption, particularly in politics and other issues.
 Ridicule – to mock someone
 Supernatural – magical or of the spirit world

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Exercise 1

Answer all questions.

1. Define the following [3]

a. Folktales
b. Lullaby
c. Satire
2. Give any two purposes of songs in folktales. [2]
3. What are the functions of ritual songs?[2]
4. When are war songs sung? [1]
5. Describe ritual songs. [4]
6. What is sacred music? [1]
7. Give an example of a lullaby. [1]
8. What is the role of war songs? List any two. [2]
9. Why do diviners sing songs during a ritual? 2]
10. Briefly explain why occupational songs are sung during working. [2]

Expected answers

1. Folktales – These are stories that provide entertainment in the evenings between
supper and bedtime. Lullaby – A lullaby is a soothing song usually sung to children.
Satire – This is the use of humour, irony, exaggeration, or ridicule to expose and
criticize people's foolishness or vices in current politics and other topical issues that
affect a society.

2. To entertain the children listening. To educate the listeners about the moral of the
story.

3. For Supplications and for spiritual upliftment.

4. During war periods and at the war front.

5. Ritual music is sacred and is viewed as having supernatural power. Diviners are known
for communicating with the divine being through songs which are occasionally
accompanied with rhythm instruments such as mbira, hosho and drums. Most of these
songs are praise songs composed to glorify or praise the holy being and to prepare for
easy communication so that they may get the replies that satisfy them.
6. Viewed as having supernatural power.

7. Thula thula baba

8. Mobilize young men and women to join the war of liberation and encourages
soldiers to move into the battle field confidently.

9. To prepare for communication ancestral spirits.

10. To bring together the work of a group of people working together to improve their
efficiency and to relieve the boredom of a tiresome job to improve the lives of the
workers.

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TEST

Choose the correct answer from the brackets to fill in the spaces below.

Page 92 of 168
 1. ____________songs are used to expose and ridicule the leading figures in politics,
economic, religious spheres. (satire/sonnet)
2. Satirical songs have been considered the most effective source to understanding a
__________. (individual/society)
3. Folktales are told in order to ____________ children about cultural values of the
society. (educate/warn)
4. __________ Music inspires the worshippers to express their loyalty to the divine
being. (ceremonial/religious)
5. Ritual music is sacred and is viewed as having __________
power. (demonic/supernatural)
6. Most ritual songs are praise songs composed to _____________the holy being.
(communicate/glorify)
7. Lullabies are often used for developing of _____________ skills, maintenance of the
baby’s undivided attention, putting the child to sleep. (traditional/communication)
8. The purpose of folktales is to teach, rebuke and to _____________. (entertain/scold)
9. Satire songs expose ____________by individuals in the society. (relations/problems)
10. Songs like ___________guided the conduct of the guerrillas in the bush. (Nzira
dzemasoja/musoja manya)

Answer all questions below.

11. What was contained in the texts of war songs? (2)

12. List three uses of music in the Africa society. (3)
13. List any two purposes of lullabies besides calming the child or putting them to sleep.
(2)
14. Give one role of war songs that is linked to spiritual help. (1)
15. Name the type of song genre that offers freedom to mock important individuals
while communication their unhappiness about something. (1)
16. Which animal is usually used in folktales to represent laziness, greed and selfishness?
(1)
17. Give an example of a song that was used to mobilize young men and women to join
the war of liberation. (1)
18. Which types of songs are mostly used to calm babies? (1)
19. Name any 3 important qualities presented in folktales that a responsible person
should have.(3)

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Expected answers

11. The songs spoke of how a soldier must behave, to obey rules and regulations, not
to exploit or rob the masses, return anything confiscated for military reasons.
12. Hunting, during work, lullabies, celebration

13. For developing of communication skills with the child and maintenance of the
baby’s undivided attention.
14. To seek supernatural assistance.
15. Satire
16. Hare
17. Tumira vana kuhondo
18. Lullabies
19. Goodness, love, patience, obedience, respect, honesty and unity.

TOPIC 7
MUTIMEDIA DESIGNS IN MUSICAL ARTS
Objectives

At the end of the topic, learners should be able to;

1. State the purpose of recording studios.

2. Name studio equipment.
3. Set up studio equipment.
4. Record work using available equipment.
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Introduction

 Multimedia designs is the integrating of multiple forms of media such as text, audio,
video, and other media used in musical arts. In music it is used especially when
recording songs or musical videos. Multimedia designs in musical arts requires both
creative and technical skills to mix two or more types of media such as mixing a beat
with the voice audios to come up with a good song. The music industry is also taking
advantage of innovations in multimedia designs to reach and satisfy wider audiences.
 The topic will cover the functions of the recording studios, equipment used in the
studio when recording and how to set up studio equipment in preparation of
recording.

Studio studies

 A studio is a place where music is recorded. It is a facility for sound recording,

mixing and audio production.
 They range in size from a small in home music studio to a large building. The
standard studio consists of 2 rooms that is the control and live room.
 The live room used by musicians and vocalists to record their music. The control
room is for producers and engineers.
 There are also small rooms called isolation booths to accommodate loud instruments
such as drums or electric guitar amplifiers and speakers.
 Each member of the technical team is responsible for different tasks until the
recording process in the studio is over.
 The producer makes sure that the audio that has been recorded is good enough and all
the parts of a song have been recorded.
 The engineer is responsible and fixing studio equipment during recording, for
example he makes sure that the microphones used are correct and all other equipment
functions well.
 In some cases a producer is responsible for all the setting up of the studio, recording,
and mastering of music.

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 Fig 1. 1
A home studio setup

Functions of a studio

 A studio is a place where all the music is recorded and perfected. There are studios
that only do the recording and mixing, some are dedicated to mastering and others do
post production for video and related audio.
 Instruments are played and recorded.
 In the studio the above mentioned functions happen in a recording process of music.
 Nowadays there is multi-tracking that is instruments in the studio are recorded
separately and then combined together.
 After recording an audio, there is editing of music to make sure there were no errors
made during the recording process.
 The arrangement, noise reduction and the pitch of the recorded tracks are things
looked at during editing.
 After editing, there is mixing where by tracks are blended as one.

Studio equipment

Equipment Function

Digital audio workstation - Used for recording, editing,

mixing and playing back
audio.

Microphones - For capturing sound waves.

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Headphones - To hear what you are
recording.

Mixers - They adjust the volume of

instruments, audio so that
volumes are in balance.

Cables - They connect all equipment in

the studio.

Monitors - They are specifically designed

for accurate audio
reproduction.

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Computer - It is used for recording, mixing
and mastering music.
- It can be a complete home
recording studio if all required
software are installed.

Filters - These are noise protection

shields for microphones.
- They reduce or eliminate
popping sounds caused by
moving air on the microphone
when singing.

Sound proofed walls - These are used to suppress

noise and control sound in a
studio.

Musical instruments - They are used to compose

various beats for songs to be
recorded.

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 Table 7.1
Studio equipment

Setting up studio equipment

 Studio recording equipment has to work together in order for the recording process to
be a success.
 The set up mixers, speakers, headphones, microphones are what deliver good results
of recorded music.
 There should be right sizes of cables preferably longer ones that will connect
equipment easily without breaking.

Summary

 The topic covered studio recording equipment that includes speakers, cables,
microphones, mixers and others.
 It also covered the recording processes which are multi-tracking, editing and mixing.
 Set up of studio recording equipment was also covered.

Activity 1

 Visit a recording studio around your area and see how music is recorded.
 Note down the important things that one should take note of when recording a audio.
 Write down the other studio equipment not mentioned above and state their functions.

Activity 2

 Look for any device that can record audio sounds such as voice recorders, smart
phones and computers.
 Create your own home studio.
 Record own songs using the device.
 Musical instruments can be incorporated in the songs.
 Play back what has been recorded.

Glossary

Multi-tracking - recording tracks at the same time.

Pitch - highness and lowness of sound.

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Vocalists - a singer.

Exercise 1
Choose the correct answer in the brackets.

1. A place where music is recorded called a ____.(studio/stage)

2. One of the rooms found in a recording studio is a ____ room.(lounge/control)
3. Visitors who may want to see music being recorded in a studio sit in the ____.(live
room/control room)
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 4. A person who produces music in a studio is called a _____.(producer/technician)
5. The ____ room is used by musicians and vocalists for recording.(live /control)
6. A _____ is responsible for adjusting microphones in a studio.(engineer/technician)
7. The errors made after a track has been recorded are fixed in the ____process.(Multi-
tracking/editing)
8. The _____ process comes after editing of a recorded track/audio.(mastering/mixing)
9. ____is recording tracks or instruments at the same time.(multi-tracking/multi-tasking)
10. A person who sings is called a ____.(singer/mixer)

Exercise 2
Choose the correct answer in box below.

Mixer (3) engineer (1) producer (2)

Microphones (5) cables (8) mixer (7)

Cables (6)

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 1. An _______ fixes studio equipment during recording.
2. A person who makes sure that music that has been recorded is good enough is a _______.
3. The ________combines or blends recorded music properly.
4. Complete the following recording process. Multi-tracking-editing _________.
5. ________ capture sound during recording.
6. ________ allow a person to hear what he is recording,
7. The volume of audios or instruments is adjusted using a ________.
8. ________ are used to connect equipment in a studio.

TEST 1

Name the following studio equipment.

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 1.

2.

3.

What is the function of the following?

4. Headphones [1]
5. Cables [1]
6. Microphones [1]
7. Mixer [1]
8. DAW stands for _____. [1]
9. What is the purpose of the DAW in a studio? [2]
10. What is the purpose of editing in the studio?[2]
11. During editing, which 3 things are looked at to correct errors? [3]
12. Define pitch.[2]
13. State 2 functions of a recording studio. [2]
14. When setting up equipment what kind of cables should be used? [1]
15. What happens when short cables are used to connect equipment.[1]
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Expected answers

1. Digital Audio Workstation

2. Monitors
3. Headphones
4. For listen through them during recording.
5. For connecting equipment
6. For capturing sound.
7. For balancing volumes during recording.
8. Digital audio work station.
9. To record, edit and mix music.
10. To correct errors made after track recording.
11. Arrangement, pitch and reducing noise.
12. Highness or lowness of a sound.
13. Recording music, producing and mixing tracks.
14. Right size, long and strong.
15. They easily break.

TOPIC 8
INTERPRETATION OF INDIGENOUS MUSICAL ARTS
Objectives

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At the end of the topic, learners should be able to;

1. Record simple audio caption of different musical arts.

2. Represent drumming patterns for selected indigenous dance styles
3. Perform Zimbabwean indigenous dances and drumming patterns.

Introduction

 A commonality in most Zimbabwean traditional music genres is that they are

accompanied by the drum. The drums are just varied as the genres and they come in
different sizes and shapes. In most cases the bigger drums are played using sticks
while the smaller ones are played using open palms.
 The topic will cover the recording techniques of musical arts and how to perform a
drumming patterns of different indigenous dance styles.

Audio digital recording

 This is a way of recording sound using technological tools such as smart phones,
computers and audio recorders.
 When recording an audio of your choice you need to be in a quiet place where your
recording can not be disturbed by background noise.
 When recording music, make sure the volume is not too high as it will affect
negatively the sound of the recording. If the volume is too high the recording will not
be clear.
 Below are some of the audio recording devices that can be used:

Smart phone

 Smart phones allow recording of audios through recording applications.

 After recording an audio it can be stored in phone storage or in an external memory
card.
 The audio recorded can be sent to other devices using applications such as share it.

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 Fig 8.1

Voice recorder for smartphones

Audio recorder

 There are many types of recorders that can be used to record and store and audio.
 An audio can be transferred to a computer or laptop for editing and storing.
 The memory cards or USB cords allow recorded audios to be transferred to the
computer.

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 Fig 8.2

Examples of audio recorders

Computer

 A computer allows recording of audios through an internal microphone.

 When you are recording an audio you should speak next to the microphone of the
computer to produce a good quality audio.
 An external microphone can be used by plugging it into the computer.

Audio captions

 These are on-screen texts description of spoken words or audio.

 It describe the audio and sounds of the music played. They provide additional
information about what is being heard in the audio.
 After you have recorded, you can caption your audio. Captioning allows to give
different languages for translation.
 Audio captions can be part of a video or a still picture.
 The picture below shows an audio caption of some of the lyrics of the song Neria by
the late Oliver Mtukudzi. The caption is however translated to English, “Don’t feel
dishearted Neria the Lord is with u”. In Shona it means “Usawore moyo kaNeria
Mwari vanewe”

Fig 1.2

Audio caption of part of the song Neria by Oliver Mtukudzi

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  Captions can tell the search engines what your audio is about. There are quite a
number of captioning tools that can be used, and these include:
 Caption Creator
 Caption Maker
 iCaption and many others software.

Fig 1.3

A screenshot of iCaption software interface

 With iCaption creating audio captions is made easier, its interface utilizes timeline
based editing with audio visualization. It also supports multiple languages per audio.

Activity 1

 Find a recording device.

 Apply the recording techniques to record a clear audio of an indigenous musical art.
 Download one of the captioning tools you know, and install it on your phone of
computer.
 Use the software correctly to apply the caption of the song in any language.
 Play the recording on any visual device available such as, television, DVD player,
computer, smartphones and many others you may know.

Transcription

 Transcription is notating a piece or a sound which has been recorded or being sung.

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  A recorded piece of music can be written down using notes.
 Below we are going to look at transcription of drum patterns for different indigenous
dance styles.

Indigenous dance styles and drumming patterns

 Drumming patterns are the rhythmic patterns or repeated rhythm of the ngoma.
 Zimbabwean drumming is usually harmonious and has numerous rhythms played at
the same time.
 The songs and dance styles are what determine the drumming patterns.
 Different drumming patterns cater for different dance styles.
 Drumming patterns give form to a song and also a flow of rhythm.
 The main beat of the second drum opposes with the other.
 The dance below will show a representation of a Mhande drumming pattern.

Mhande

 It is an indigenous song-dance performed for the mutoro ceremony, the annual rain
ritual of the Karanga.
 Instruments used are the drums that include gandira and mutandarikwa.
 Clapping of hands and leg movement is according to the drum pattern.

Fig 1.1

Mhande drumming pattern 1

 The drumming pattern is in quaver beats where by a drummer plays 6 quaver beats.
 The drumming will be ta-te ti- ta-te ti- ta-te ti repeatedly.

Jerusalem

 The Jerusalem or Mbende is a tradtional dance danced by females and males.

 Drums are used for the dress.
 The drum is the dominant instrument and its rhythm is similar to the one our radios
and television before the news.
 The drums played are usually two of different pitches and size; one small and the
other one bigger.
 These drums are played by one drummer.
Muchongoyo

 Muchongolo is represented in the Ndebele culture.

 It is a social and recreational dance.
 The dance is also accompanied by drums.
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Mbakumba

 Mbakumba is a Karanga dance used to celebrate good harvests.

 It is accompanied by two pitched drums played by one person.

Activity 2

 Look for a drum try to follow the drumming pattern of the Mhande dance.
 Perform the dance according to the drumming pattern.
 Translate the drumming pattern of any one indigenous dance using the appropriate
notation method.

Summary

The topic covered the audio captions, audio recording methods that include the audio
recorders, smart phones and computers indigenous dance styles and drumming patterns.

Glossary

Notating - writing notes on musical scales

Harmonious - having agreement among musical components.

Dominant - having power and influence over others.

Interface - communication protocols and tools for building software

Exercise 1
Choose the correct answer in the brackets

1. An audio should be recorded in a _____ place.(quiet/noisy)

2. When you are recording an audio, you need a recording ____.(device/pencil)
3. Audios recorded in a smart phone can be stored in a ____.(USB cord/phone storage)
4. A ___ installed in a device can be used to store an audio.(memory card/microphone)

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 5. Smart phones, audio recorders and ____ are audio recording tools.
(computers/television)
6. A computer allows recording of audios through ___.(internal microphone/USB cord)
7. To produce a good quality audio one can use a ____.(external microphone/tablet)
8. A ___can be used to transfer a recorded audios from one device to another.
(mouse/USB cord)
9. ____ are texts of spoken words in multimedia.(Captions/Messages)
10. Captions provide ___ of what is heard in an audio.(data/information)

Exercise 2

Choose the correct answers in the box below.

Mhande (10) form (7) drum (8)

Dances (5) harmonious (4) drumming pattern (3)

Video (1) recorded (2)

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 1. Audio captions can be part of a ____.
2. Transcription is used to notate music that has been ____.
3. An example of a transcribed music can be in form of a ____.
4. Zimbabwe drumming rhythm is ____.
5. ____ and songs are what determine a drumming pattern.
6. When playing a drum, the main beat of the second drum ___ with that of the other
drum.
7. Drum patterns provide ____ to a song.
8. The common instrument used in most dance styles is a ___.
9. A type of a drum used in Mhande dance is called ____.
10. _____ is a Karanga dance.

Test 1

Choose the correct answers in the brackets.

1. The _____ is according to a drum rhythm being played. (clapping of hands/attire)

2. The drum pattern of _____ is similar to the one played in televisions before news.
(muchongoyo/Jerusalem)
3. The number of people who play the Jerusalem drum is ___. (one/two)
4. Mbakumba dance uses two ____ drums. (pitched/tuned)
5. Thispicture below shows a ___ drumming pattern. (Mbakumba/Mhande)

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Answer the following questions on a separate answer sheet.The questions carry 15
marks.

6. Name 3 devices that can be used to record an audio.[3]

7. Why should a person speak next to the microphone of a computer when recording an
audio.[2]
8. How can an external microphone be used when one wants to record an audio.[2]
9. What is the purpose of an audio captions.[2]
10. Define transcription.[2]
11. State two purposes of drumming rhythms.[2]
12. Which are the two types of Mhande drums.[2]

Expected answers

6. Smart phone, laptop, computer, audio recorder.

7. To produce a clear and good quality audio.
8. It can be plugged to a laptop.
9. To give information on what is being heard.
10. It is the notating of a piece of music recorded or sung.
11. To give form to a song, to give flow of rhythm.
12. Gandira, Mutandarikwa

TOPIC 9

THEORY OF WESTERN ART MUSIC

Objectives

By the end of the topic, learners should be able to:

1. Read and write binary rhythms through clapping and stamping up to the 8th note.
2. Write and read ternary rhythms through clapping and stamping.
3. Walk to the 3 step whilst clapping 2 and 3 micro division.
4. Identify and sing 2nd, 3rd, 6th and 7th major intervals.
5. Play tonic triads in root position of all the chords in C major.

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Introduction

 People were making music long before anyone wrote any music down. Some
musicians still play by ear (without written music) though written music is however
very useful. This is mainly because music is easier to study and share if it is written
down. Western art music specializes in groups of musicians singing or playing parts
exactly as a composer intended. It is clear that without written music this would be
very difficult. Many different type of music notation were invented and the most
common notation method is the staff notation.
 In this topic, learners will cover;
 Rhythmic reading and writing of binary and ternary up to the 8th note.
 Harmony intervals, major 2nd, 3rd, 6th and 7th.
 Keyboard/ piano/melodica harmony-tonic triads root position.

Rhythmic reading and writing

 Rhythm is a specific pattern of sounds. Understanding rhythmic notation is essential

to learning how to read and write music. Rhythmic accuracy when reading or writing
is highly important. For example, the pitch might be correct but if they are out of
tempo or off the rhythm they become meaningless.
 When reading or writing rhythms it is important to focus on two components which
are:
 Knowing all the notes and rules of the music language.
 Making rhythmic reading and writing a habit, that is doing it every day.
 This is done because mastering the ability to sight read rhythms is not easy. It is a
long process, which requires commitment and dedication.

The stave

 It is a series of five lines and four spaces which is used in Western music notation to
specify the various pitches of the notes. The bottom line represent the first note and
the top line represents the fifth line. On the stave music symbols such as notes, rests,
clef signs, sharps and flats are placed either on the line or space.

Fig 9.1

The Stave

Note values

 The term note value refers to the duration of a note, or how long a note is held.

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 In order to read a music piece, we need to know the names of the notes, the note
values, and how each note is shaped.

 All note have the stem except the semibreve which has only the note head. For those
notes with stems most note heads are shaded inside, except for the minim. It is only
the quaver and semi quaver that have flags.

Fig 9.2
Parts of a note

Semibreve

 It is an egg shaped note that is also

known as the whole note

 It is equivalent to 4 crotchet beats

Minim

 It is an egg shaped note which is

hollow and has a stem

 It is not shaded and also known as the

half note

 It is equivalent to 2 crotchet beats

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 Crotchet

 It is an egg shaped shaded note with a

stem

 It is shaded inside and also known as

the quarter note

Quaver

 It is an egg shaped shaded note with a

stem and a tail

 It is also known as the 8th note

Semi-quaver

 It is similar to a quaver, the only

difference is that it has two flags
(tails).
 Its values is half the quaver
 It also called the sixteenth note.

Table 9.1

Common note values

Rests

 A rest is a sign used to mark the silence in a music piece.

 Notation has to show how each silence lasts.

 For example a minim rest is equal to a minim beat.

 Rests are dotted but never tied.

 A semibreve rest hangs below the fourth line on the stave.

 The minim rest sits on the third line on the stave.

 A crotchet, quaver and semiquaver rests are placed on the middle of the stave.

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 NOTE NAME NOTE VALUE REST

Semibreve 4 beats

Minim 2 beats

Crotchet 1 beat

Quaver ½ beat

Table 9.2

Names of note values, number of beats and their rests

Time signature

 It is the combination of two numbers written one above the other. The fraction like
numbers serve as a key clue to understand the rhythm of a music piece and it tells
how the music is to be counted.
 They are found at the beginning of a piece after the clef symbol.
 The top number in a time signature usually indicates the number of beats in each
measure or bar.
 A bar is a specific length of time equal to a specific number of beats. It is sometimes
called a measure.
 The bottom number in a time signature usually represents the type of beat in every
bar.
 There are two types of time signatures which include: Simple time and Compound
time.

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 Fig 9.3

Example of time signature on the stave written after a treble clef sign

Simple time signature

  In simple time signatures, the beat of a piece of music can be broken down into two-
part rhythms.
2 3 4
 examples of simple time signatures are:
4 4 4

Compound time signature

 In compound time signatures, the beat is broken down into three-part rhythms.

 The top number is evenly divisible by 3 except for time signatures where the top
number is 3.
6 9 12
 Examples of compound time signatures are:
8 8 8
 In compound time signatures the notes of a beat are beamed in threes whilst in simple
time are beamed in twos.

Scales

 It is a series of pitches ascending or descending. The first note of the scale is repeated
at the end an octave higher. Below is a scale of C major. This scale is the only scale
without sharps or flats. A major scale consists of tones and semi tones (T T S T T T
S).
 There are many other scales with different accidentals.

Fig 9.4

C Major Scale
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Intervals

Fig 9.5

Intervals of a second up to the seventh

 An interval is the difference in pitch between two notes.

 Major intervals are those which are part of the major scale.
 The major scale should always be the starting point when working out an interval.
 There are 2 examples below. The first showing a major 6th interval in the key of C
major, the second showing a major 3rd interval in the key of E major.
 Each interval will have a number - 1, 2, 3, 4, 5, 6, 7, and 8.
 These numbers are the distance between two notes, based upon counting the lines and
spaces on the staff. For example, if we count lines and spaces, starting from C and
ending at A, we count: C, D, E, F, G, A = 1, 2, 3, 4, 5, 6. Therefore, in C major
scale the interval from C to A is a major sixth (6th). C, D, E. F, G, A.

INTERVAL EXAMPLE STEPS

Second 
C to D 2
(2 half steps)
Third
C to E 3
(4 half steps)
Sixth
C to A 6
(9 half steps)
Table 9.3

Intervals

Activity

 Sing the 3rd major interval using C major scale.

 Clap the same intervals using crotchet beats.
 Copy and complete the table above up to the seventh note.

Harmony

 It is playing two or more notes at the same time. It supports the melody and gives the
music texture and mood. This means a music piece can sound differently only by
changing the harmony.

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  It can also be a concept of multiple singers singing different pitches and notes at the
same time.
 When two or more notes are played simultaneously they create a chord.

Fig 9.6

Minims played at the same time written on a bass clef

Tonic triads

 In music a tonic is the key note in the scale.

 Triad refers to the chord built by playing three notes at the same time. Therefore a
tonic triad is a chord of three notes and the lowest of these notes is the key note.
 When piled together in thirds the triad’s members, from the lowest pitched tone to the
highest are called: the root.
 These notes can be played on a piano or any other musical instrument with a music
scale.

Fig 9.7

Tonic triads

Activity

 Draw a stave and add a treble clef sign.

 Show the middle C of C Major scale on.
 Write the triad of C E G on the treble clef.
 Identify the key note of the triad C E G
 Identify the key note of C major scale on a piano or marimba.
 Play the triad C E G on the piano/marimba and hear how it sounds.
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Body percussion

 The body is the first musical instrument that we all have. Rhythmical sounds can be
produced using body parts. Parts such as the hands and feet play an essential role in
producing rhythm.

Fig 9.8

Main body parts used to produce sound in body percussion

 Its can go along with songs. One body can be used in body percussion.
 Some of the rhythms however, may require more than one body to be produced and it
is more fun when more than one body is used in creating rhythms .

Below is a rhythm with four beat patterns, the second line mixes it up and the third uses a
123, 123, 12 pattern

Fig 9.9

Simple three part body percussion

Three step body percussion

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This is stepping to three crotchet beats at a time. It is performing while standing at the same
place and only moving the legs forward and backwards.

 Before attempting the three step body percussion the performer should stand at ease.
 First step - Move the right leg forward.
 Second step - Stamp the left leg where it is without moving it forward.
 Third step – Bring the right leg back to where it was.

After completing the steps above u must not stop. You change, and start by moving the left
leg first as explained below.

 First step – Move the left leg forward.

 Second step – Stamp the right leg where it is without moving it forward.
 Third step – Bring the left leg back to where the right leg is.

Continue these steps till u master the rhythm.

Activity

 Perform the three step body percussion written above.

 You can clap or snap your fingers as u perform the three body percussion.

Activity

 In groups create your own body percussion.

 Use your hands and feet to create own body percussions.

Summary

This topic covered:

 The important aspects to consider when reading and writing rhythms.

 The stave, note values from the semibreve up to the semi-quaver and rests
 Simple and compound time signatures
 C Major Scale and intervals of a second up to the 7th major interval.
 Tonic triads and body percussions.

Glossary

 Flag – it is the tail of a note.

 Accidentals – these are symbols that are used to alter notes within a music piece.
 Rests – a symbol that indicates a pause for a given time.

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EXERCISE 1

Answer the following question.

1. Draw a scale and write the intervals of a second up to the seventh interval. [15]

Expected answer

EXERCISE 2
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Answer all questions below.

1. A stave has 5 lines and ________ spaces.

2. A _______ is also known as a whole note.
3. A bar is also called a ________.
4. Two quaver beats plus a crotchet is equal to a ________.
5. A whole note is equal to ________ semi-quaver beats.
6. The diagram below shows three _________ beats.

7. Label the parts of the note below.

8. Where is the time signature found on the stave?

4
9. What is meant by the time signature ?
4
10. Name the two types of time signatures.

Expected answers

1. Four
2. Semibreve
3. Measure
4. Minim
5. Sixteen
6. Crotchet

7.
8. At the beginning of the stave after the clef sign.
9. There are four crotchet beats in every bar.
10. Simple time and compound time.

Exercise 3

Answer the following questions.

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 1. Draw a stave and add treble clef sign. [5]
2. Outline the difference between single and compound time. [3]
3. Briefly explain what is a rest? [2]
4. What is harmony in music? [3]
5. State the meaning of an interval. [2]
6. What is a tonic triad? [2]

Expected answers

1.
2. In simple time signatures, the beat is broken down into two-part rhythms and
in compound time signatures, the beat is broken down into three-part rhythms.
3. A rest is a sign used to mark the silence in a music piece.
4. It is playing two or more notes at the same time.
5. An interval is the difference in pitch between two notes.
6. A tonic triad is a chord made up of three notes.

Exercise 4

Perform the following activity.

1. Perform the three step body percussion. [20]

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Expected moves

 Before attempting the three step body percussion the performer should stand at ease.
 First step - Move the right leg forward.
 Second step - Stamp the left leg where it is without moving it forward.
 Third step – Bring the right leg back to where it was.

After completing the steps above u must not stop. You change, and start by moving the left
leg first as expalined below.

 First step – Move the left leg forward.

 Second step – Stamp the right leg where it is without moving it forward.
 Third step – Bring the left leg back to where the right leg is.

Continue these steps till u master them the rhytm.

 Use the critique form below to access your performance.

SKILL POSSIBLE MARK ACTUAL MARK

Attack 5

Rhythm 5

Tempo 5

Movement 5

TEST
Answer all the questions below.

1. Give the other name for a stave. [1]

2. How many lines and spaces are there on a stave? [2]
3. What are time values? [2]
4. What is the other name for a quarter note? [1]

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Name the following notes and rests.

5.

6.

7.

8.

Expected answers

1. Staff
2. Five lines and four spaces
3. It is the duration of a note.
4. Crotchet
5. Quaver
6. Crotchet rest
7. Minim
8. Semibreve rest

Choose the correct answer from the brackets to fill in the spaces below.

9. The ________ number in a time signature usually indicates the number of beats in a
bar. (top/bottom)
10. A quaver note is made up of a noted head, ________ and a flag. (branch/stem)
11. In ________ time signatures, the beat of a music piece can be broken down into two
part rhythms. (simple/compound)
12. In compound time the top nu8mber is evenly divisible by ________ except for time
signatures where the top number is three. (2/3)
13. _______ refers to the distance in pitch between two notes. (A rest/An interval)

Explain what is meant by the following time signatures?

3
14.
4

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 6
15.
8

2
16.
4

Expected answers

14. There are three crotchet beats in a bar.

15. Six quaver beats in a beat.
16. Two crotchet beats in a bar.

TOPIC 10
HISTORY OF WESTERN ART MUSIC
Objectives

At the end of the topic, learners should be able to:

1. State the genres developed during the medieval era.

2. Examine the style characteristics of medieval period music.
3. Identify chief composers and their works.

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Introduction

 Western art music covers a broad range of art music that originated in Europe around
500 AD.
 This topic will cover the music genres of the medieval period, characteristics and
chief composers of the era and their works.

Medieval period

Musical characteristics

 The medieval period includes music from after the fall of Rome to about 1400.
 Music of the medieval period was characterized by one sound. It was called
monophonic music. Most single line melodies with no accompaniment were used as
music for the early Christian church.
 Most notated manuscripts were connected to the church and were called chants.
 This period marked the development of musical notation and existence of polyphony
which means many sounds.
 There was secular music but it did not dominate like sacred music.

Fig10.1
Medieval period musicians (but there were no instruments yet)

Genres

 The genres of the period comprised of the following

o Mass
o Motet
o Gregorian chant
o Organum

Gregorian chant/Plain chant

 The Gregorian chant was the medieval period music which was monophonic both
sacred and secular.

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  This was solo and unison plainsong choral music which became the fundamental
music of the Roman Catholic Church.
 The music was Latin notated.
 It was sung by monks in unison during the Catholic mass.
 It was in pneumatic notation that is in five line staff.
 It was also monophonic meaning that it was sung in one melody without any musical
parts and without being accompanied by instruments.

Fig 10.2
Gregorian chant
Organum

 This form of music marked the beginning of polyphony which was the style of
simultaneously combining a number of parts, each forming on individual melody and
harmonizing with each other.
 In plainchant the melody was harmonized by addition of 12 or 3 parts, usually
parallel.
Motet

 This was another musical form during the medieval period.

 It was short, sacred and sacred choral song.

Mass

 The musical mass derived its name from the catholic liturgy called ‘the mass.’
 This is a form of polyphonic and choral sacred musical composition.
 It was sung as acapella or with accompaniment of orchestra.
 It was pneumatic.

Style characteristics of the medieval period

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  The style characteristics of the music genres include the following.

Harmony -Harmony did not function as music was

sung in one voice.

Texture -Monophonic texture dominated the era and

later introduction of polyphony.

Form -form of music of the era was Gregorian

chant, mass, motet, non-religious vocal
songs.

Melody -there were sacred melodies based on

church modes.

Rhythm -There was no notated rhythm.

-The treatment of sacred texts, meter of the
text and musical abilities of singers and
instruments determined the rhythm and
tempo.

Performing medium -People used their voices.

-Instruments accompanied vocal singing.

Table 10.1
Style characteristics of medieval

Chief composers

 The chief composers were the people who contributed a lot to the music that was
there during the medieval period.

Composer Work

Hildegard Von Bingen (1098-1179) -was the earliest German composer of

chant.
-She also composed “ordo Virtutum
lurtigical drama.

Leonin (1163-1190) -important composer of polyphonic

organum.

Perotin -French composer, successor to Leonin at

Notre Dame polyphony.
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Guillaume de Machaut -French composer and poet, was the pre-
eminent master of late polyphony.
-Leading composer of Ars Nova.
-.He helped to develop the motet and
secular songs and he wrote the messe de
Nostre Dame.

Table 10.2
Chief composers and their works

Guillaume de Machaut Hildegard von Bingen

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 Perotin Leonin

Fig 10.3
Medieval chief composers
Activity 1
 Outline other medieval composers and their musical contributions.
Activity 2
 Listen to the works of the music genres of the medieval era composers.

Summary

 The topic covered the medieval period from 400 to 1450.

 It also covered the music genres of the period that include Gregorian chant, motet,
mass and organum.
 Chief composers of the period that were covered are Hilde von Bingen, Leonin,
Perotin and Guillaume de Machaut.
 It also covered the style characteristics of the music genres of the era.

Glossary

 Lurtigical - sacred
 Modes - notes arranged in a specific scale of pattern of intervals.

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Exercise 1
Choose the correct answers in the brackets.

1. Medieval is a period between _____.(400-1450/1450-1500)

2. Music composed during medieval was mostly for the ____.(parties/church)
3. Which was the dominating church during medieval?(Anglican/Roman Catholic)
4. Sacred music is ____.(religious music/non-religious music)
5. Gregorian chant is called ____.(plain chant/pneumatic)
6. During medieval the five line staff notation was called ____.(pneumatic/chant)
7. In which language was music notated in medieval period?(Latin/French)
8. Solo means ____.(one/two)
9. In which event was the Gregorian chant sung?(Catholic mass/pass over feast)
10. When people sing in one part without harmonizing, it is called ___.(unison/choral)

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Exercise 2
Choose the answers from the box below.

Monophony (1) secular (2) polyphony (3)

Bass (4) motet (5) mass (6)

Orchestra (7) mass (8) rhythm (9)

Sacred (10)

1. Music sung in one voice or melody without musical parts and instrument
accompaniment is called ____.
2. _____ means non-religious music.
3. The style of combining a number of parts, harmonizing eachother is called ____.
4. ____ is a singing part sung by men.
5. The mediaval music genre that was short, sacred and choral was the _____.

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 6. The ___ was taken from the catholic liturgy called ‘the mass.’
7. A group of different instruments played together is called ____.
8. The form of music that was sung as acapella accompanied by instruments was called
______.
9. ______ is a pattern of musical notes or sound.
10. Liturgy means ____.

Exercise 3
Answer the following questions.

1. State the characteristics of the medieval period. [5]

Expected answers

 The medieval period includes music from after the fall of Rome to about 1400.
 Music of the medieval period was characterized by one sound which was called
monophonic music.
 Single line melodies with no accompaniment were used as music for the early
Christian church.
 Most notated manuscripts were connected to the church and were called chants.
 This period marked the development of musical notation and existence of polyphony
which means many sounds.
 There was secular music but it did not dominate like sacred music.
2. Give the characteristics of the Gregorian chant. [5]

Expected answers

 The Gregorian chant was the medieval period music which was monophonic.
 It was both sacred and secular.

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  This was solo and unison plainsong choral music which became the fundamental
music of the Roman Catholic Church.
 The music was Latin notated.
 It was sung by monks in unison during the Catholic mass.
 It was in pneumatic notation that is in five line staff.
 It was also monophonic meaning that it was sung in one melody without any musical
parts and without being accompanied by instruments.
3. List three composers and their works. [5]

Expected answers

I. Hildegard Von Bingen (1098-1179) - was the earliest German composer of

chant. She also composed “ordo Virtutum lurtigical drama.
II. Leonin (1163-1190) Leonin (1163-1190) - important composer of
polyphonic organum.
III. Perotin - French composer, successor to Leonin at Notre Dame polyphony.
IV. Guillaume de Machaut - French composer and poet, was the pre-eminent
master of late polyphony. He helped to develop the motet and secular songs
and he wrote the messe de Nostre Dame.

TEST
Choose the correct answer in the brackets.

1. Which medieval music genre marked the beginning of polyphony during medieval?
(organum/Gregorian chant)
2. ______ were used to accompany vocal singing.(Instruments/genres)
3. The melodies created during medieval were based on ________.(church
modes/secular modes)
4. _______is the combination of long and short sounds that convey a sense of
movement. (tempo/rhythm)
5. The ______ texture dominated the medieval era.(polyphonic/monophonic)
6. A person who writes music is called a _______.(composer/poet)

Complete the following table

Composer Contribution

7. Leonin Composed polyphonic organum.

8. Perotin Successor to Leonin who also composed

polyphony.

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 9. Guillaume de Machaut Wrote poetry and composed Ars Nova.

10. Hilden von Bingen Composed chant and ordo Virtutum drama.

Table already matched

Identify the following composers

11. _______ (Leonin)

12. _______ (Guillaume de Machaut)

13. _________ (Hildegard von Bingen)

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 14. _________ (Perotin)

15. Which composer lived from 1098-1179? ______( Hildegard Von Bingen)
16. Which composer was a successor to Leonin? (Perotin)
17. ______ was a German composer. (Hildegard Von Bingen)
18. In which country did Perotin come from? (France)
19. Which medieval song genre was as a result of the contribution of Guillaume? (motet)
20. Guillaume wrote the ____. (messe de Nostre Dame )

TOPIC 11
PERFORMANCE PROFICIENCY
Objectives

At the end of the topic learners should be able to:

1. Identify techniques for varying levels of performance proficiency ranging from low
to high order.
2. Outline structure of performance proficiency.
3. Display refined performance skills.
Introduction

 Great music performers are people who dedicate themselves in delivering beyond
their audience’s expectations. To be a great performer one has to work hard and
rehearse in order to refine the performing skills.
 In this topic learners will cover:
 Refined skills of handling of various instruments such as the piano and the
mbira. It will also demonstrate the recommended sitting postures for playing
these instruments.
 The performance structure, which is the introduction, development, climax
and declining.
 The showcasing of dance styles convention skills.
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Elementary instrumental technique

These are the basic or introductory instrumental playing techniques which may include
instrument handling or siting posture and how to play the most basic first notes.

What is performance and proficiency?

Performance

 Refers to how well one performs the required tasks, usually meeting and exceeding
the audience’s expectations.
 Performance is what is learnt based on instructions.
 Describes what the learner can demonstrate based on the knowledge and skills
acquired and rehearsed.
Proficiency

 It is one’s ability to perform the tasks required to do the job. It is all about having the
right skills for certain performance.
 An independent of specific instruction or curriculum.
 Describes what the learner can do regardless of where, when and how the skills were
acquired.
Mbira

There are quite a number of techniques that a performer is expected to exhibit when playing
the mbira.

Types of mbira

In Zimbabwe there are several types of mbira that are found. These include:

 The mbira dzavadzimhu.

 Nhare
 Mbira dzavanjanja
 Nyunganyunga
 Mbira dzavahera
Nyunganyunga mbira

 It is commonly used for learning purposes in most schools.

 It is an African musical instrument, which consists tuned metal keys attached to the
resonating board.
 This instruments is also called the thumb piano.
 The nynganyunga was brought to Kwanongoma College of Music by Jege Tapera
who came back from Mozambique to join his family.
The structure

 Like other instruments, it has a wooden sound board which is usually 29cm by 18cm
on average dimensions.
 It has 15 metal keys mounted on the sound board using a cross bar called Mutanda
and a bridge underneath the keys.
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  Most mbira of this type have buzzers made from bottle tops to amplify the sound.
 The buzzers are mounted on a wooden resonator.
Number notation
 The upper layer of the mbira keys are even numbers from 2 to 14. These are counted
from left to right.
 The lower layer of the keys are numbered as odd numbers from 3 to 15.
 Most mbira songs use the number notation as it is easy to follow when learning how
to play a mbira song.
 The number notation was developed by Dumisani Maraire. It depends heavily on
memorising the numbers and the structure of the keys on the nyunganyunga mbira.
However, the number notation does not give a clue to pitch and rhythm.

KEY: R – represents the right thumb.

L – represents the left thumb.

R L
11 5
15 1
13 1
13 1
11 5
15 1
11 3
11 3
Table 11.1
The number notation for the Kukayiwa basic pattern

Handling the mbira

 The sitting posture does not matter that much when playing the mbira. The instrument
can be played while standing.
 It is played using thumbs and the right fore finger. Therefore one should handle the
mbira in a position that allows the movement of the thumbs and right forefinger.

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  At least three fingers from both hands must be placed under the sound board so as to
support the instrument from falling.
 All songs are built from the basic pattern that should be mastered before developing to
other difficult variations.

Fig 11.1

The correct handling position of the mbira

Playing a piano

 There are two main types of piano and these are, the grand piano and the upright
piano. The most common is the upright piano. It has 52 white keys and 36 black keys.
It is played using fingers.
Sitting posture

It is very important to sit correctly when playing a piano so as to avoid injuries.

 Always sit up straight and relaxed. It is done so as to be able to lean forward and
backwards when the need arise.
 If your piano seat can move up or down adjust it to a comfortable height.
 Sit on the front half of the chair.
 Keep your feet flat on the ground. Your feet are the first station of stability therefore
they should support the stability of your body.
 Make sure your knees are placed slightly under the keyboard. The angle of your legs
should be a bit more than 90 degrees.
 Place your elbows a bit higher than the keyboard and loosen your shoulders.
Fingering
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  Keep your fingers curved as if you holding an egg.
 This helps keep your fingers at the same level making it easy to play different keys.
 Fingers do have numbers as shown in the picture below.

Fig 11.2

Correct fingering and finger numbers.

Activity 1

 Play the two different scales on a piano.

 Play using the left hand first, then change and use the right hand.
 Play using both hands at the same time.
 Play and sing the scales at the same time.
 Use the correct fingering when playing the scales.
 Maintain the same tempo.

A guitar

 It is a musical instrument with usually six strings attached to its long fretted neck.
 It has a round body that narrows in the middle.
 The strings are strummed or plucked to produce sound.
 It is played using chords.

Sitting posture

 Lean forward and tilt the guitar neck slightly upwards.

 For males feet should be apart and the left leg can be raised to support the guitar
 Females can cross their legs when playing.

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 Fig 11.3

Female musician demonstrating the correct sitting posture

Fingering

 The left hand is used for holding the chords while the right hand is responsible for
strumming.
 Finger numbers are used for chord diagrams.
 It is important to master the finger numbers as it makes it easy to play various chords.
 When switching from one chord to another quickly while playing the guitar, a
technique is required. One can try a technique called air changes. This is when you
form the shape of the next chord in the air before you actually touch the strings for the
next chord.

Fig 11.4

Showing finger numbers for the left hand

Activity 2

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  Gather different chords
 Practice holding the chords correct.
 Play the chords using and master how each chord sounds.
 Rehearse on how to change smoothly from one chord to other.
 Find a simple song and play it using a guitar.

Dance styles

Ingquzu

 The dance is believed to have come with the Zulus who from South Africa. It was
performed by miners and it is also believed to be an offshoot of gumboot dance.
Attire and instruments

 Performers tie pads around the ankles to enhance the sound of the feet when they are
hit against the other.
 Wooden clappers are used to accompany the clapping of the hands producing some
form of impact.
Choreography

 The leg movement of the dance involves stamping down of the feet, jumping slightly
and knocking the ankles against each other.
 Dancers get into the arena one at a time.
 The dance begins with clapping and singing.
 The clapping will be in crotchet beats before the dance start. This means the clapping
will be slow. It will then develop to quaver beats when the dancer is in full swing and
doing different styles.
 Some of the singers can add whistling so as to add variety during the performance.
 When the dancer start performing other performers bend forward or kneel on one
knee. This gives the dancer prominence so as to be clearly seen by spectators
 The clapping is very important because it guides the dancer and gives him time to rest
or pause.
Examples of songs

 Most of the songs of this dance are typical of African songs. They use the lead and
response form and the songs keep going on and on repeating the same words.
i. Call: Ukhozi lwangithatha
Response: Ah ala yelele, hamba westimela
Call: Stimela mbombela
Response: Ah ala yelele, hamba westimela.

ii. Call: EGwelutshena

Response: Ahh nank’ amajah’ amahle

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Activity 3

 Research on the dance moves of at least three indigenous dances.

 Gather all the instruments, songs and attire required to perform the dances.
 Practice singing the songs properly.
 Rehearse the dance moves as a group or individually.
 Perform the dances for an audience.

Summary

This topic covered:

 Various musical instruments and how to correctly play them. It also covered how
instruments mustr be handled when playing. These instruments include the
nyunanyunga mbira, the upright piano and the guitar.
 The dance moves and examples of songs that are sung when performing ingquzu
dance.

Glossary

 Prominence - the state of being noticeable.

 Enhance – to make something better.

EXERCISE 1
Choose the correct answer from the brackets to fill in the spaces below.

1. Performance refers to how well one performs the required task,________ expectations
and meeting expectations. (exceeding/required)
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 2. ________ mbira is commonly used for learning purposes in most schools.
(Nhare/Nyunganyunga)
3. Proficiency describes what the learner can do regardless of where, when and how the
skill was ________ (lost/acquired)
4. ________ is ones’s ability to perform the tasks required to do the job.
(performance/proficiency)
5. The African mbira consists of metal keys that are attached to the ________ board.
(resonating/electric)
6. Buzzers on the mbira are used to ________ sound. (amplify/block)
7. Two main types of piano are ________ piano and upright piano. (thumb/grand)
8. When playing the piano the index finger is number ________. (Two/four)
9. A guitar is played by strumming or ________. (beating/plucking)
10. Ingquzu is a dance that is similar to ________ dance. (gumboot/muchongoyo)

Exercise 2

Answer the following questions.

1. Draw and label the correct finger numbers for playing the piano. [5]

Expected answers
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 2. Briefly explain the correct sitting posture for playing a piano. [5]

Expected answers

 Always sit up straight and relaxed. It is done so as to be able to lean forward and
backwards when the need arise.
 If your piano seat can move up or down adjust it to a comfortable height.
 Sit on the front half of the chair.
 Keep your feet flat on the ground. Your feet are the first station of stability therefore
they should support the stability of your body.
 Make sure your knees are placed slightly under the keyboard. The angle of your legs
should be a bit more than 90 degrees.
 Place your elbows a bit higher than the keyboard and loosen your shoulders.
3. Explain how to perform Ingquzu dance. [5]

Expected answers

 The leg movement of the dance involves stamping down of the feet, jumping slightly
and knocking the ankles against each other.
 Dancers get into the arena one at a time.
 The dance begins with clapping and singing.
 The clapping will be in crotchet beats before the dance start. This means the clapping
will be slow. It will then develop to quaver beats when the dancer is in full swing and
doing different styles.
 Some of the singers can add whistling so as to add variety during the performance.
 When the dancer start performing other performers bend forward or kneel on one
knee. This gives the dancer prominence so as to be clearly seen by spectators
 The clapping is very important because it guides the dancer and gives him time to rest
or pause.

Exercise 3

Perform the following music on a mbira.

1. Play the kukayiwa mode. [15]

R L
11 5

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 15 1
13 1
13 1
11 5
15 1
11 3
11 3

TEST

1. Describe what is meant by performance. [3]

Expected answers

 Refers to how well one performs the required tasks, exceeding expectations, and
meeting expectations.
 Performance is what is learnt based on instruction.
 Describes what the learner can demonstrate based on what was learned.
2. Describe what is meant by proficiency. [3]
Expected answers
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  One’s ability to perform the tasks required to do the job, having the right skill.
 An independent of specific instruction or curriculum.
 Describes what the learner can do regardless of where, when, and how the skill was
acquired.
3. List four types mbira.
Expected answers
 Dzavadzimu
 Dzavahera
 Dzavanjanja
 Nyunganyunga
4. Describe the origins of nyunga nyunga mbira. [3]
 It originated from the western parts of Zimbabwe.
 It was brought to Kwanongoma College of music by Jege Tapera who came back
from Mozambique to join his family.
 It was found along the Zimbabwean and Mozambican boarders.
5. Describe the structure of the mbira. (4)
 Like other instrument, it has a wooden sound board which is 29cm by 18 cm on
average dimensions
 It has 15 metal keys mounted on the sound board using a cross bar called Mutanda
and a bridge(underneath the keys whilst “mutanda” is on top of the keys)
 Most mbira have buzzers in the form of bottle tops to amplify the sound
 It is mounted on a wood resonator.
Describe the correct posture for playing the piano [10]
Expected answer
 Always keep your feet flat on the ground.
 Your feet are the first station of stability.
 Make sure that your feet are not too far or too close from each other.

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  Your feet should support the stability of your body.
 Make sure your knees are placed slightly under the keyboard.
 The angle of your legs should be a bit more than 90 degrees.
 Sit on the front half of the chair.
 We do that to be able to lean forward and backwards when needed.
 Keep your back straight.
 Place your elbows a bit higher than the keyboard.
 Loosen your shoulders.
 Make sure your pulse is a bit higher than the arm.
 Keep the palm of your hand curved as if you hold an apple.
 Make sure your neck is long.
 And that your head is straight.

TOPIC 12

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MUSICAL ENTERPRISE SKILLS
Objectives

At the end of the topic, learners should be able to;

1. Describe different business principles.

2. Identify different organizations to which an artist should be registered.
3. Identify the process of branding.
4. Describe the process of financial management tools.

Introduction

 Music is a business that is expanding at a greater rate in Zimbabwe and beyond the
borders. There is a great need for musicians to be equipped with necessary enterprise
skills so that they can establish good businesses in the music industry. Enterprise
skills in music involve being innovative and productive. There are certain principles
that every musician should follow when establishing and maintaining a good business
in music. Other stake holders are very important in the running of the business, these
help the artists with branding, organising and managing finances of the band.
 In this topic learners will cover the business principles in musical enterprise skills,
branding of an artist and organizations that an artist can be registered.

Business principles

 These are what make a business grow and develop.

 In music business there are also principles that can help one to develop his music and
these some of these include the following.
 Ethics
 Building a fan base
 Finding a need in the market place
 Communicating the product in the values and needs of clients
 Accessibility

Ethics

 These are principles that guide a person in doing what is wrong and right or morals.
 Ethics is an important principle to a success music business.
 Making plans in the music business has been difficult due to lack of morality of
people involved in the music industry.
 People break rules and laws, money and power are used as a way of rising to fame.
 Recording companies cheat artists when they launch new albums.
 Artists buy fans to follow them on social media so they appear to be popular.
 In a set up like that where there is cheating, cruelty and competition it is important to
be honest, respectful and professional to achieve a good reputation in music business.

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  You have to relate well with music specialists such as music producers, directors,
journalists and many more so as to be a successful in music business.

Building a fan base

 Fan base is simply the artist’s interaction with fans.

 Artists fan interaction is a contributing factor to build and grow an artist’s fan base.
 Create a social media presence through facebook, whatsapp, twitter, instagram other
social media sites. The number of followers an artists have in these social media
platforms shows how big the fan base of an artist is.
 Fans want to interact with artists hence social media allows a chance for an artist to be
more interactive with fans as possible.
 People get to know you and your music and whether they love your music or not.
 Artist should organize successful live shows. When you have a gig or concert it is
important to make friends and introduce yourself to everyone as a way of getting
more fans.

Fig 12.1

Killer T performing a live show.

Branding

 A brand is a logo, name, design and other features that distinguishes the artists from
other artists and in the eyes of fans or customers.
 It is regarded as a very powerful marketing tool for creative artists therefore the
artist’s brand represents the personality and the type of music.

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 As a good marketing strategy for artists, it should attract fans all over. It should be
different from other artists so that you can be easily identified with your unique
branding.
 As an artist you get inspiration from other artists or designers so they can assist you in
creating a brand that can improve your music.
 Branding of an artist should be the same on the following things;
i. Generation of a name
 Many artists do not use their real name instead they adopt new stage
names. For example Soul Musaka goes by the name Soul Jah Luv and
Obey Makamure is known as Jah Signal.
ii. Logo
 This is a symbol made up of texts and images or other design adopted by
artists so that it is easy for the fans to identify and distinguish them from
competitors. It makes great impression which invites new fans to interact
with the brand.

Fig 12.2

Jah Prayzah’s military touch brand logo

iii. Letter head

 It is a heading at the top of a sheet of paper. It usually consists of a name,
address and logo of the artist. A business letter heard is a must for all
artists in the music business. They also serve as an advertising and
branding tool.
iv. Personalized receipts
 They are used mostly on show tickets and when selling musical CDs. They
help the fans to identify the artists because of the brand logo on the receipt.
v. Email

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  This is a platform that artists should use to communicate and share ideas
with other artists. It is also a way of getting views and comments from the
fans that will help musicians improve their music.
vi. Social Websites
 These also serve the purpose of advertising the artists’ products.
 Your name should be represented the same in terms of font and size in the things
mentioned above.
 Put clear and great pictures for social websites, receipts, letter heads and so on.
 Create a logo that is exceptional that will separate you from others, that will be part of
everything you do.

Registration organization

 One of the organizations that register artists is called ZIMURA.

 It is caters for composers/artists and publishers of music to protect their works under
the copyright law.
 Composers of original music and authors of lyrics are being registered.
 For an artist to be registered and become a member he should at least two recorded
works of music.
 For one to become a member, he has to pay a certain amount which is a registration
fee.
 When your become registered, your work is protected from being used by other
people worldwide.

Financial management in music business

 This is planning, directing and controlling of money in music business. It is usually

done by the artist’s manager. A manager is responsible for negotiating music
contracts and fees for the various shows. They also find and book events and venues
that match the artist career strategy. Therefore it is very important for every artist to
have a manager.
 For one to be successful in the music industry he has to have proper planning of
finances so as to sustain a music career.
 Making loads of money does not mean you won’t have any financial challenges that is
why you need to manage your finances carefully so that as your music is being sold
you keep your cash flow smoothly and be able to reinvest in yourself to the next
phase.
 As an artist you need to know your expenses and some of them include;
 Transport costs
 Clothing
 Recording costs
 Paying back up vocalists or bands
 When you travel to perform in different places you need to account for the money that
you use for transport.

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  As artist your will need to clothe yourself when you are performing or shooting
music videos and you need account for that.
 Releasing of an album or recording of a song may cost you, as you will need to pay
back vocalists and bands.
 All expenses need to be accounted for in form of receipts and invoices.
 When you purchase a microphone, piano or any other music tool, you to keep a
receipt so that you can total everything.
 When performing you charge people at a certain amount and
 In order for you to manage your finances you will also need to know your revenue
streams (where you get money from).
 Revenue extremes may include ;
 People buying your CD
 When your music is played on radios, televisions
 Performing in shows, concerts, weddings, and other events
 Your music used in adverts and many more.

Activity

 Compose your own songs.

 Record own songs from either a home or standard studio.
 Create your own music logo.
 Market you music on different social media platforms.
 Organize shows in your community and perform to your level best.

Summary

The learners covered:

 The music principles that include ethics, accessibility, building of a fan base and
others.
 The company that register artists and the registration process that is carried out.
 Branding of artists that is in logo, name, social websites, emails, letter head and
receipts.
 The management of finances in music business that include knowing your expenses,
revenue streams.

Glossary

 Exceptional-unusual.
 Specialists-high skilled person.
 Cash flow- money transferred in and out of a business.
 Revenue stream- a way of generating income.

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Exercise 1
1. A _______ is an example of a business principle.(building a fan base/branding)
2. _______ are principles that guide a person in doing what is wrong and right.
(Ethics/rules)
3. In the music industry, _____ make people rise to fame.(lack of morality/money and
power)
4. A ______ is a person who is well skilled in doing a particular thing. (specialist/artist)
5. _______ are people that support an artist’s music. ( Specialists/Fans)
6. _____ is a social media that can make an artist famous. ( Gmail/facebook)
7. A brand of artist represents his ____.(personality/background)
8. In branding a name of artist should be the same in font and _____. (size/texture)
9. A ____ is a name, design, logo and other features that distinguishes one from others.
(label/brand)

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 10. For one to be successful in music business, he has to maintain a good relationship
with ______.(music producers/family)

Exercise 2
Choose the correct answers in the box below.

1. ZIMURA stands for ________. (Zimbabwe Music Rights Association)

2. ____ is organization that registers artists.(ZIMURA)
3. ZIMURA protects music under the _____(Copyright law)
4. To become a registered member one must have ____recorded songs.(two)
5. A registration ______is paid to the ZIMURA by composers.(fee)
6. ____ is planning, directing and controlling money in a business.(financial
management)
7. As an artist you need to know where you get money from, and this is called a____.
(revenue stream)
8. Money that is transferred in and out of a business is called a ____.(cash flow)
9. As an artist you need to know your ____ to manage your finances.(expenses)

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 10. When an artist purchases something he needs to keep a ___to total his expense at the
end of the month.(receipt)

TEST

Fill in the blank spaces with the correct answers.

1. Name 3 music business principles. [3]

2. Explain building a fan base in music business.[4]
3. Why is making plans in music business sometimes difficult? [2]
4. Why do some artists buy fans.[2]
5. Why is it important to relate well with others in the music industry.[2]
6. What is the advantage of social media for artists in pursuing their music careers?[1]
7. State the advantage of branding of artists.[2]
8. Explain why it is important for an artist to get inspiration from other artists when
creating a brand.[2]
9. State 4 things that should look the same in a brand of artist.[4]
10. Why should one create a brand different from others.[1]
11. Why do artists register their works with ZIMURA.[1]
12. What does ZIMURA stand for? [2]

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 13. Define financial management.[2]
14. State 3 expenses that an artist needs to plan for to manage his finances.[3]
15. Why does an artist need to keep his cash flow smoothly? [2]
16. How does releasing an album cost an artist.[2]
17. How does keeping receipts and invoices assist one to manage his finances.[2]
18. State 2 things that an artist can get money from.[2]
Expected answers

1. Ethics, building a fan base, finding a need in the market, communicating the product
in the market place and accessibility.
2. Building a fan base-
3. People break rules, recording companies cheat artists, and some artists buy fans to
become more popular.
4. So that they rise to fame.
5. So that one becomes successful in pursuing their music career.
6. They get fans who support and buy their music, they get to know whether people like
their music or not.
7. Artists market their music.
8. To improve their music.
9. Name, letterheads, email, social websites, receipts
10. So that it can be outstanding and unique and people may be able to identify your
uniqueness as an artist.
11. So that their works can be protected from being used by other people.
12. Zimbabwe Music Registration Association.
13. It is the planning and controlling money in business.
14. Releasing an album, clothing, transport costs, paying venues for performance, paying
back up vocalists and bands.
15. So that he may be able to reinvest himself for the next level in music.
16. One has to pay producers and recording venue.
17. So that he may be able to calculate his expenses and manage his money.
18. Selling CDs, performing in concerts, shows and gigs, allowing his music to be used
legally in adverts and by other people so as to get money.

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TOPIC 13
INTELLECTUAL PROPERTY RIGHTS FOR INDIGENOUS
MUSICAL ARTS
INTELECTUAL PROPERTY RIGHTS
Objectives

By the end of the topic, learners should be able to:

1. State the main tenets of copyright act.

2. Trace the history and origins of the principle of intellectual property rights.

Introduction

 It is very important for every musical piece created by individuals to be protected and
conserved. Intellectual property rights play an important role in doing that. It protects
the works of all musicians from any person who might want to steal, imitate and
personalize their works. Zimbabwean law recognise a number of intellectual property
rights that require formal registration. They are registered at organisations such as the
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 Zimbabwe Intellectual Property Office (ZIPO) or African Regional Intellectual
Property Organisation (ARIPO). It is only after registration that such rights can be
protected and enforced against third parties in Zimbabwe. The importance of
intellectual property was first recognized in the Berne Convention (Switzerland) for
the protection of Literary and Artistic Works in (1886).
 In this topic, learners will cover:
 Main principles of the copyright act.
 The history and the origins of principles of intellectual property right.

History

 The history and development of intellectual property rights dates back to the early
1900s.
 The first copyright act was first passed in 1909 and it protected music owners from
piracy.
 Intellectual property rights commoditized the songs so that they could be sold and
bought in the market places.
 Copyright law had no means of collecting royalties from the public performance of
music.
 That is what gave rise to collecting societies whose main duty was to issue licenses
and collected revenues from the following:
1. Performances of the songs
2. Sale of original products and
3. Money paid to the publishers for their share of the sales.
 In Zimbabwe it is managed by the Copyright Office, through the provisions of section
87 of 12 the Copyright and Neighbouring Rights Act [Chapter 26:05] of 2000.
 It came into use on 10th September 2004.
 This Act is a repeal of the Copyright Act [Chapter 26:01] which outdated the
Copyright Act, Chapter 201 of 01 January 1967.
 It is a development of the British Copyright Act of 1911 when Zimbabwe was a
colony of Britain.

Principles of the copyright act

1. The copyright act applies to all creative and intellectual works.

 A wide and different range of materials are protected by the copyright law.
 Music, sound recordings, photographs and many other materials are protected by
copyright law.
 If you can see it, read it, hear it, or watch it, it can be protected by copyright law.
 A work shall not be disqualified for copyright because the making of the work, or
the doing of any act in relation to the work, involved an infringement of copyright
in some other work.
2. Ownership of the copyright
 Copyrights are given to the author or composer of the work.

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  In case of a joint authorship, the copyright shall be given to the person who was
directing the created work.
 When a person commissions the making of a sound recording and pays or agrees
to pay for it in money or monetary value, that person shall now own the
copyrights.
3. Duration of the copyright
 The copyright protection of every musical work does not last forever
 A sound recording copyright lasts for the duration of the creator’s life up to
seventy years from the end of year in which the recording is first published.
 In case of joint authorship, the copyright will last for 50years after the death of the
last member.
4. Acts open by copyright in sound recording.
 The owner of exclusive rights is allowed to make a record similar to sound
recording.
 They are allowed to sell a copy of the sound recording or let for hire by way of
business.
 The copyright allows the owner of the rights to make the sound recording
available on a public computer network and to make a reworked copy of the sound
recording.
5. Works are protected automatically, without copyright notice or registration.
 Works are protected under copyright if they are original works of authorship that
are fixed in any tangible medium of expression. 
 In other words, once you create an original work, and fix it on paper, or on the
drive of your computer, the work receives instant and automatic copyright
protection.
 This means you are the copyright owner even without the formalities or
registration.
6. Works in the public domain.
 Works in the public domain refers to works belonging or being available to the
public because they are not subject to copyright or other legal boundaries.
 Some works lack copyright protection, and they are freely available for use
without the limits and conditions of copyright act. 
 For example, if the work was created after 1909 Copyright Act, then the work
would enter the public domain 50 years after its first publication.
 When copyrights expire they enter the public domain.
 Works produced by the Zimbabwe government are not copyrightable.
 Copyright also does not protect facts, ideas, discoveries, and methods.

Intellectual property rights

 Intellectual property refers to creations of the mind such as inventions and artistic
works like music, symbols, names and images used in business.
 Intellectual property is divided into two categories:

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 a. Industrial Property which includes rights for inventions, trademarks, industrial
designs and geographical indications.
b. Copyright which covers literary works such as music, novels, photographs,
poems and plays.

Patents

 A patent is a type of intellectual property right which allows the holder of the right to
completely make use of and sale an invention when one develops an invention.
 A person who has got a patent right has an exclusive right.

Copyright

 It is an intellectual property which does not really grant an exclusive right over an
idea but the expressions of ideas which makes if different from patent law.
 There are neighbouring rights that go with copyright.
 These are different from copyright but related with it – performers in a theatre,
dancers, actors, broadcasters, producers of sound recorders, etc.
 It protects not ideas but expressions of ideas as opposed to patent.

Activity 1

 Research on how copyright work in case of joint authorship.

 Who owns the copyright and how long it lasts for in such a situation?

Activity 2

 Find out more on the history and origin of the copyright act [Chapter 26:05]
 Debate with others on the importance of the copyright protection.

Summary

In this topic, learners covered:

 The Copyright Act was put into practice so as to ensure that music composers benefit
from their intellectual property.
 Definitions of copyright and intellectual property, benefits of the law to music
composers and function of the collecting society in Zimbabwe were among the issues
discussed in this chapter.

Glossary

 Copyright – the exclusive right given to a music composer for the creation of his or
her works.

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  Composer – refers to a person who writes a musical piece.
 Author – it is the originator of any written work.

Exercise 1

Answer the following questions.

1. Give 3 principles of the copyright act.

2. How long does the copyright last?
3. What happens to copyrights when they expire?
4. What is Intellectual property?
5. Name two categories of intellectual property.
6. What does copyright cover?
7. Briefly describe patents.
8. When was the first copyright act passed?
9. What did the first copyright act protect music owners from?
10. Name two duties of collecting societies.

Expected answers

1. The copyright act applies to all creative and intellectual works, ownership of the
copyright, duration of the copyright, acts restricted by copyright in sound recording.
2. Life of the author, plus fifty years. 
3. They enter the public domain.
4. Intellectual property refers to creations of the mind.
5. Industrial property and copyright.
6. Copyright covers literary works such as music, novels, photographs, poems and plays.
7. A patent is a type of intellectual property right which allows the holder of the right to
completely make use of and sale an invention when one develops an invention.
8. 1909
9. It protected music owners from piracy.
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 10. To issue licenses and collect revenues.

Exercise 2

Choose the correct answer from the brackets to fill in the spaces below.

1. In Zimbabwe the copyright act is managed by the ____________. (Copyright

Office/Revenue Office)
2. Intellectual property refers to ____________ of the mind. (thoughts/creations)
3. In case of joint authorship, the copyright will last for 50years after the death of the
_______ member. (last/first)
4. Works produced by the Zimbabwe __________ are not copyrightable.
(government/citizens)
5. Copyright covers literary works such as __________, novels, photographs, poems and
plays. (music/pictures)
6. Intellectual property rights commoditized the songs so that they could be ________
and bought in the market places. (sold/recorded)
7. Collecting societies’ main duty was to issue licenses and ____________.(collect
revenues/sell original product)
8. The copyright act is a development of the __________Copyright Act of 1911.
(British/American)
9. Copyrights are given to the___________ of the work. (author/user)
10. The period of protection of works under copyright is the life of the author, plus
_______years after their death. (60/50)

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TEST

Answer all questions.

1. Define the following words.

a. Copyright
b. Patent
2. List any 3 principles of the copyright act.
3. What happens to created works when copyright expires?
4. Who owns the copyright in joint authorship?
5. When does an original work receive an instant and automatic copyright protection?
6. Give an example of non-copyrightable work.
7. What is intellectual property?
8. Name two types of intellectual property.
9. Summarize copyright.
10. In which year was the first copyright act passed.
11. What led to the introduction of collecting societies?
12. Where do performing societies collect revenue from?
13. The copyright act of Zimbabwe is managed by which office?
14. What is the complete name of the Zimbabwe copyright act?
15. What makes some created work to be available for use without limit?
16. Who collects money from the sales of the original created work according to the
copyright act?
17. Why was the copyright act put into place?
18. Briefly describe acts allowed by copyright in sound recording.
19. What does it mean to say that “works in the public domain”?
20. How long does a copyright last for?

Expected answers

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1. Copyright, these are rights that creators have over their literary and artistic works.
Patent is an exclusive right granted for an invention or a new way of doing something
which presents a new technical solution to a problem.
2. Acts open by copyright in sound recording/Works are protected automatically,
without copyright notice or registration/ duration of copyright
3. They enter the public domain.
4. The person who was directing the creation of the work.
5. Once the original work has been created and fixed on paper, or on the drive of your
computer.
6. Facts, ideas, discoveries and methods.
7. Intellectual property refers to creations of the mind.
8. Industrial property and copyright.
9. Those rights include:
10. Copyright is a law that gives you ownership over the things you create. Copyright
grants the author several rights that include:
 The right to reproduce the work
 to prepare derivative works
 to distribute copies
 to perform the work
 and to display the work publicly
11. Because copyright law had no means of collecting royalties from the public
performance of music.
12. Performances of the songs, sale of original products and money paid to the publishers
for their share of the sales.
13. Copyright Office
14. Copyright and Neighboring Rights Act [Chapter 26:05] of 2000.
15. Because they would have entered the public domain.
16. Collecting societies
17. To protect music owners from piracy and to make sure they benefit from their
compositions.
18. The owner of exclusive rights is allowed to make a record similar to sound recording.
They are allowed to sell a copy of the sound recording or let for hire by way of
business.
The copyright allows the owner of the rights to make the sound recording available on
a public computer network and to make a reworked copy of the sound recording.
19. Works in the public domain refers to works belonging or being available to the public
because they are not subject to copyright or other legal boundaries.
20. The life of the author plus 50years after their death.

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