Notes over Zimbabwe and Mbira Music (2/12)
Notes over Zimbabwe and Mbira Music (2/12) MUMH 1600
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This 2 page Class Notes was uploaded by Arely Sanchez on Sunday February 14, 2016. The Class Notes belongs to MUMH 1600 at University of North Texas taught by Dr. Randy Kinnett in Winter 2016. Since its upload, it has received 106 views. For similar materials see Music in Human Imagination in Music at University of North Texas.
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Date Created: 02/14/16
Zimbabwe and Cultural Formations -‐indigenous cultural formations vs. middle class cosmopolitan cultural >rural vs. urban >farmer/working class vs. middle class >local vs. cosmopolitan >indigenous beliefs vs. Christianity *however, cosmopolitan Zimbabwe involves local elements *indigenous Zimbabwe is not ignorant of cosmopolitan Shona Music in Zimbabwe *most people speak English but they also have their own language *most of their music is participatory *connects to shona sense of place and identity -‐musha: house where your relatives are from and buried family members are under and around your house; ancestor veneration *is central to ancestor veneration ritual bira: lasts all night, calling/communicating our ancestors for guidance, party where they play music your ancestors liked Typical instruments: -‐mbira: kalimba/thumb piano -‐hosho: maraca type -‐drums: is sometimes used; depends on what music you are playing -‐voice: ululation; type of yodeling Mbira Music >note mbira construction -‐intentionally “buzzy” timbre -‐sometimes amplified in calabash bowl >heavily ostinato base (repeating phrase); framework >sung melodies are based on mbira melodies >usually in 2 interlocking parts -‐kushaura (lead part with main idea) -‐kutsinhira (supporting “response” part) >singing features: standard lyrics, vocals, ululation >polyrhythmic: multiple simultaneous meters and or beat patterns
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