Muziki
Dados do Periódico
| Tipo | JOURNAL |
|---|---|
| Editora | Routledge (GB) |
| ISSN | 1753-593X / 1812-5980 |
| Scopus | 21100825185 |
| OpenAlex | S87304893 |
| MAG | 87304893 |
| Site | https://www.tandfonline.com/toc/rmuz20/current |
| Total de publicações | 330 |
| Período coberto | 2004 - 2026 |
| País | ZA |
| Idioma | EN |
| Indexação | Scopus |
| Citada por | 8 |
| Fator de impacto | 0.511 |
| SJR | 0.209 (Q2) |
| SNIP | 0.339 |
| CiteScore | 0.9 |
| Índice h | 2 |
| Participação feminina na autoria | 30.0% |
Muziki is a journal dedicated to music research, particularly in Africa, strongly suggesting an ethnomusicological focus. Ethnomusicology is a recognized subfield of anthropology, making this a closely cognate venue
Music · African history and culture studies · African studies and sociopolitical issues · Anthropological Studies and Insights · Archaeology and Rock Art Studies · Caribbean history, culture, and politics · Cinema and Media Studies · Cultural Identity and Representation · Diverse Music Education Insights · Diverse Musicological Studies
Contemporary Music and Political Contestations in Zimbabwe: A Critique of the Multivalent Transition Dynamics in Jah Prayzah’s “Kutonga Kwaro” and “Masoja”
This article examines two songs from Jah Prayzah’s Kutonga Kwaro album within the context of Zimbabwe’s tumultuous political transition in November 2017. It explores how the songs reflect and influence the power dynamics in Zimbabwe during this period. Through desk research and analysis of digital platforms, the article examines the symbolic interaction between music and society, focusing on how Jah Prayzah’s music resonated with the populace and…
Voices of Healing: Exploring Nomfundo Moh at the Intersection of Music and Social Work
Implications of Queer Music Therapy for LGBTQ+ Adolescents
The complexity and multifaceted nature of queer identity, particularly among adolescents, constitutes a significant area of inquiry. This article reports on a qualitative case study aimed at exploring the impact of a queer music therapy (QMT) model on a dyad of LGBTQ+ adolescents. The music therapy process was designed to facilitate the exploration and expression of queer identity. The study was conducted at a high school in South Africa with two…
Cultural and Idiomatic Narratives in Maskanda Music: A Thematic Analysis of “Umendo” and “Dear Msakazi”
This article examines cultural and idiomatic narratives in South African Indigenous music, with specific reference to Johnny Dimba’s “Dear Msakazi” and Buselaphi’s “Umendo.” The analysis is informed by conceptual metaphor theory (CMT), which conceptualises metaphor not merely as a stylistic or rhetorical device but as a fundamental cognitive and cultural mechanism through which individuals and communities structure experience and produce meaning.…
From Folktale to Stage: Compositional Strategies in the Musical Fable Self-Serving for the Preservation of Eʋe Oral Traditions
Cognitive Strategies Underpinning Sight-Reading of Key and Time Signatures in Expert and Amateur Musicians: An Eye-Tracking Study
Mediated Music and Well-Being of Zimbabwean Immigrants in South Africa
Disability in South African Society: (Re)Listening to Lucky Dube’s “Love Me (The Way I Am)”
This article explores South African reggae musician Lucky Dube’s song “Love Me (The Way I Am)” from a disability studies perspective, highlighting how Dube appears to refer to the marginalised experiences of children with disabilities in his society. A disability reading allows one to interpret disability themes in the song. Drawing on themes of rejection, invisibility, and the yearning for unconditional acceptance, I interpret the song as a crit…
Music and Zimbabwean Sign Language Pedagogy
The study addresses critical gaps in Zimbabwean Sign Language (ZSL) pedagogy by examining the pedagogical intersection of ZSL and Zimbabwe musical arts and evaluating how integrating Indigenous musical epistemologies enhances learning outcomes for hearing and Deaf students. In Zimbabwe, the growing synergy between ZSL and music is evident in contexts like concerts, national anthem performances, and Deaf artists creating musical videos, prompting …
A Multimodal Critical Discourse Analysis of Peter Tosh’s Wanted Dread and Alive Album
Peter Tosh is often remembered as a militant icon of reggae resistance, a figure defined by defiance and confrontation. While this image captures aspects of his public persona, it risks obscuring the complexity of his character and the intentionality of his artistic expression. Tosh’s autobiographical Wanted Dread and Alive album offers a compelling site for re-examining his self-representation and ideological stance vis-á-vis words of those who …
Advancement of Recording Technology: From Acoustic to Digital, Unveiling Umaskandi ’s Recording Journey
This article explores the evolution of umaskandi recording practices, focusing on the transition from analogue to digital production and its impact on the genre’s sonic identity. Umaskandi, deeply rooted in Isizulu music-making processes, has continuously adapted to emerging recording technologies, with umaskandi producers and omaskandi (practitioners) playing a pivotal role in shaping its sound. Rather than viewing technological change as a rupt…
The Musical Imaginings of a Better Zimbabwe: Sociological Perspectives on Selected Songs by Winky D
This article examines how Winky D’s discography reflects Zimbabwe’s intricate socio-political landscape, economic challenges, and evolving cultural identity. Winky D addresses Zimbabwe’s struggles and aspirations. Grounded in symbolic interactionism, this study analyses the artist’s use of language, cultural symbols, and metaphors. Winky D’s music critiques Zimbabwe’s postcolonial realities, offering poignant reflections on disillusionment with e…
Song and Zimbabwe’s Increasingly Layered Perceptions of China and Zimbabwe–China Relations: The Case of Zanu PF’s “Nzira Dzemasoja” and Winky D’s “Made in China”
The Zimbabwe African National Union’s (ZANU)—later called ZANU PF (Patriotic Front)—relationship with China preceded Zimbabwe’s independence in 1980. An enduring tribute ZANU paid to China for its support is “Nzira Dzemasoja,” a song that attributed principled conduct in guerrilla warfare to Mao Zedong’s teaching. This study places Zimbabwe–China relations in the idealism of “Nzira Dzemasoja” and then juxtaposes them with emerging narratives—usin…
David Coplan as a Pracademic Scholar
For many decades, the documentation of African music has been predominantly shaped by Euro-American scholars, largely driven by social anthropologists’ exploration and academic interest in music, rather than musicologists or ethnomusicologists. Many social anthropologists, of which David Coplan is one, were motivated by their exposure to music performance as social anthropologists and the need to make African music accessible to a global audience…
Hybrid Traditions in South African Black Choral Music: A Pedagogical Lens for Teaching Counterpoint through Stretto
This article examines choral compositions by Thanduxolo Mahlangeni and Qinisela Sibisi, Black South African choral composers, through the lens of post-structuralism, using Kraidy’s approach. Mahlangeni blends Nguni musical traditions with subtle Western influences. In contrast, Sibisi adheres strongly to Western models while incorporating African rhythmic sensibilities. Both composers use contrapuntal techniques in their work, specifically strett…
The Choral Compositional Technique of Sibusiso Njeza: An Analysis of Three Compositions
This article examines three choral works by the South African choral composer Sibusiso Njeza. The authors ask whether Njeza’s musical background introduced him to multiple musical world-views, and whether his music displays characteristics of musical hybridity. To answer these questions, the first part of the article outlines Njeza’s musical biography, highlighting key moments in his career that shaped and influenced his development as a composer…
The Future of Music Theory and Composition Education in Ghana: An Advocacy for Instructional Pedagogy Centred on African Musical Arts
This article discusses the need for an African-centred pedagogy in Ghanaian higher education, specifically critiquing the state of music theory and composition instruction. It provides a brief history of education in Ghana, highlighting past progress and future directions. A literature review indicates a lack of engagement in teaching practices, although alternative methods based on African musical arts are suggested. Focusing on three public uni…
Resisting Neocolonial Chains: African Emancipation in Brymo’s “Illusions”
This article explores “Illusions,” a song by Nigerian artist Brymo, as a profound critique of neocolonialism and a blueprint for African emancipation. Employing close lyrical analysis, it examines how the song confronts the enduring legacy of colonial ideologies and the pervasive reliance on Western validation within postcolonial African societies. At the centre of this analysis is the figure of “Boyi,” a symbolic character who embodies the postc…
Jazz in Lagos City between 1986 and 1995: The Jazz 38 Experience
Jazz venues across African cities have become meeting places for diverse social identities, where people from different cultural backgrounds meet and share experiences. Lagos, one of the largest cities and the most populous cosmopolitan metropolis in Nigeria, constitutes a case to explore the cosmopolitan nature of jazz and the ways in which jazz venues have shaped transcultural identities and exchanges in Africa. This article focuses on the auth…
Gbokos: A History of Cosmopolitan Ambiguities Involving Ọmọlúàbí , Artistic Development, and the Economics of Brass Band Music in Lagos, Nigeria (1970s–2000s)
In this article, I trace the history and examine the role of gbokos (commercial indigenised wind band formation) in nurturing the jazz sensibilities of members while contributing to the broader social fabric in Lagos State, Nigeria. I employ the method of collaborative autoethnography to construct this account, drawing on the experience I share with five other musicians with roots in the tradition to develop a narrative on gbokos which spans thre…
Protean Careers: Case Studies of South African Women Working in Music
This qualitative research investigates the career experiences of 14 female musicians in the city of Gqeberha in the Eastern Cape province of South Africa. Findings accord with research conducted in other countries, and like their international counterparts, these musicians find themselves in a complex and precarious industry. They develop their identity or brand, build networks, and pursue lifelong learning while working in non-music fields to su…
Jazz Cosmopolitanism In and Around Malawi: Musical Praxis in the Politics of Belonging
In this article I explore the notion of jazz cosmopolitanism in Malawi in an effort to examine the complexities of navigating transnational multicultural spaces. I am specifically interested in how this plays out in southern Africa, where the music industries are affected by ongoing influences from the Global North sedimented on top of a history of multiple types of colonialism. I outline some foundational works on music and cosmopolitanism in Af…
White Masters and Black Servants: A Decolonial Analysis of Winky D’s “Happy Again” Music Video
In December 2021, Zimbabwean musician Winky D (born Wallace Chirumiko) released the video to his song “Happy Again.” While many cheered the release, the “Happy Again” video was not immune to criticism. Drawing on concepts of coloniality and decoloniality as well as framing theory, this article uses thematic analysis to deconstruct the kinds of selections that perpetuate coloniality that were spotlighted and made noticeable in the “Happy Again” mu…
“We Evangelists Are Creative”: Yoruba Pentecostals’ Music-Making on Prayer Mountains in Nigeria
There is a growing interest in scholarship on the creative forms of Pentecostalism in Africa and globally. This study extends the conversation by exploring music-making in prayer mountain spirituality in Nigeria. Specifically, it examines the roles of music makers and their creative processes in prayer mountain liturgy. In addition, it discusses factors that aid creativity among music makers in the prayer mountains. Two popular prayer mountains, …
Reading Praise, Protest, and Subversion in Thomas Wasonga's Tawala Kenya Tawala
Throughout Kenya's history, patriotic music has created and fostered community, and continues to sensitise people's needs, hopes, aspirations, and fears. Patriotic music is often evident and popular, especially during national day celebrations. The Permanent Presidential Music Commission (PPMC), established in 1988 under the then government of President Daniel arap Moi, is the body responsible for selecting and presenting music for entertaining t…
Hegemonising Zimbabwe? The Polity of Mbare Chimurenga Lyrics in Perpetuating Mugabe’s and Zanu-PF’s Rule
The role played by music as “popular culture” in political campaigning and in the perpetuation and sustenance of political hegemonies is a very significant one. Music and its accompaniment of dance is a common and popular channel through which political hegemonies are (re)constructed, (re)negotiated and perpetuated. In Zimbabwe the two largest political parties (ZANU-PF and MDC-T) both “own” musical ensembles who have been constantly and consiste…
The national anthem: A mirror image of the Zimbabwean identity
The article parades those attributes in the Zimbabwean National Anthem that make it Zimbabwean. Having shifted from an anthem for Africa as a continent, ‘Ishe Komborera Africa’, the current Zimbabwe national anthem, eulogizes some sense of patriotism, Zimbabwean hegemony and pride among the Zimbabwean populace. Every nation has its own identity that is mirrored through symbolic historical monuments, artifacts, dress codes and music including the …
Subverting the dominant gender discourse in Congolese popular music: Mbilia Bel's ‘ Eswi yo Wapi ’ and Mpongo Love's ‘ Monama Elima ’
This article focuses on two songs by Congolese female singers, namely, Mbilia Bel's ‘Eswi yo Wapi’ and Mpongo Love's ‘Monama Elima’, that challenge the essentialisation of women in Congolese Rumba music. Drawing on insights provided by the work of Teresa de Lauretis and other feminist cultural critics, the article first looks at the context in which these singers entered the Congolese musical scene. Then, through an analysis of their songs, it di…
Filling the void in our national life: The search for a song that captures the spirit of Rhodesian nationalism and national identity
The article examines the Rhodesian Front government's attempts to search for an anthem that instilled a sense of patriotism among an assortment of the dominant minority white people in the colony. The Rhodesian Front came to power in 1962, and in 1965 under the leadership of Ian Smith, it announced the Unilateral Declaration of Independence (UDI) from Britain. After the UDI, the colony of Rhodesia was a beleaguered space; it was isolated internat…
Honey, let's waltz the day out: The effects of popular music on wedding celebrations in Botswana
Wedding songs are an integral part of Setswana wedding celebration. They are not just sung for entertainment purposes, but talk about issues related to marriage and married life in general. They also express what is socially and culturally expected of the bride and groom in their new status as husband and wife. Botswana, like many other developing countries, is undergoing rapid changes due to modernisation and globalisation. Nowadays, recorded po…
Taking music seriously: Sound thoughts in the newer South Africa
Diplomatic arts: Interview with Srdjan Hofman
Obituaries
Playing the notes: The 31 st Congress of the Musicological Society of South Africa, 26–27 August 2004, University of Stellenbosch
(2005). Playing the notes: The 31st Congress of the Musicological Society of South Africa, 26–27 August 2004, University of Stellenbosch. Muziki: Vol. 2, No. 1, pp. 57-60
Rhythm as ‘music’ in Basotho children's folk narratives: A study of Mokali 'a Thòlè
(2005). Rhythm as ‘music’ in Basotho children's folk narratives: A study of Mokali 'a Thole. Muziki: Vol. 2, No. 1, pp. 11-20
An investigation into the current status of music technology at post-secondary institutions in South Africa
(2005). An investigation into the current status of music technology at post-secondary institutions in South Africa. Muziki: Vol. 2, No. 1, pp. 3-10
Interview with Bongani Ndodana
Art, Prawns and Icebreakers: The Joint Congress of the International Association of Music Libraries (Iaml) and the International Association of Sound and Audiovisual Archives (Iasa) in Oslo, 8–13 Augu…
(2005). Art, Prawns and Icebreakers: The Joint Congress of the International Association of Music Libraries (IAML) and the International Association of Sound and Audiovisual Archives (IASA) in Oslo, 8–13 August 2004. Muziki: Vol. 2, No. 1, pp. 53-56
Limes X plus one: Anywhere Far
South African students and other South African connections at the Royal College of Music in London between the end of the Anglo-Boer War and the formation of the Union of South Africa, 1902–1910
(2005). South African students and other South African connections at the Royal College of Music in London between the end of the Anglo-Boer War and the formation of the Union of South Africa, 1902–1910. Muziki: Vol. 2, No. 1, pp. 26-47
The impact of multimedia on popular music in Nigeria
(2005). The impact of multimedia on popular music in Nigeria. Muziki: Vol. 2, No. 1, pp. 21-25
‘Consuming my loyalty’: Youth, popular culture and gender contestations in Kenya
This article analyses the consequence of disregard for youth power in involvement and participation in the 2002 election process in Sabatia Constituency of Vihiga District in Kenya. The article draws its basis from musical compositions that highlighted the umbilical cord often tugged on by politicians and composers alike. The experience of the majority of young people generated not just artistic expressions but also became a fecund source of poli…
The psychological power of rap music in the healing of black communities
South African rap music has played a vital role in the formation of national identities. Most reviews of rap music have focused on the political and social nature of this music, while little attention has been paid to its psychological implications. The aim, therefore, is to explore the psychological power of rap music among black communities. This article looks at the creative output of Hip-Hop Pantsula and Skwatta Kamp, and undertakes a psycho-…
Drumming, Fynbos and Kuduhorns: György Ligeti and Steve Reich, African Rhythms . Pierre-Laurent Aimard, piano, and Aka Pygmies. Teldec Classics 8573 86584-2. Berlin, 2003. Jiri Pavlica and Dizu Plaatj…
Singing the contemporary: Leadership and governance in the musical discourse of Oliver Mtukudzi
This article explores questions of leadership and governance in the musical discourse of KORA award-winning Zimbabwean musician, Oliver Mtukudzi. The study focuses on how Mtukudzi transcends mere ‘protest music’ to suggest how harmony can be achieved through negotiated processes as opposed to violence and other heavy-handed methods of conflict ‘resolution’. The study also reveals the powerful, though subtle political impetus in Mtukudzi's music t…
‘An aesthetic of redemption’: Reading Masque as public culture
Morton Feldman in Johannesburg, July 1983: Ideas and Opinions
Morton Feldman was born in New York on 12 January 1926; he died in Buffalo on 3 September 1987. He was the guest of honour on whom the First South African Broadcasting Corporation Contemporary Music Festival of 2–9 July 1983 hinged. During this time and until 14 July, he conducted master classes for composers at the SABC in Johannesburg. What he said at the master classes was recorded onto 11 cassettes. The present article is an investigation int…
Music and HIV/Aids orphans: Narratives from Community Music Therapy
This position paper situates music – and Community Music Therapy in particular – within the socio-political narratives of the HIV/AIDS pandemic in South Africa. Two narratives are selected from current thinking in two public spaces, one political and the other academic. The first is embodied in a 2004 Unicef document that explicitly sanctions the linking of music and HIV/AIDS. The document states that youth groups need to be organised to ‘use dra…
Musical rhetoric and the limits of official censorship in Zimbabwe
Cultural critics of the Zimbabwean government argue that the passing into law of the 75 percent requirement of local content on television and radio is the most visible expression of musical censorship. The critics argue that control of television and radio helps the government to censor the content of music of those singers whose visions of Zimbabwe do not agree with that of the ruling Zanu-PF. While the idea of 100 per cent local content on the…
Zimbabwe's popular music industry and copyright legislation
This article explores the potential for growth in Zimbabwean musicians' earnings through the strategic monitoring and use of their copyright and a coordinated collection of royalties. Zimbabwean popular music is now big business and employs large numbers of people, with many more aspiring to join the industry. Policies have been put into place in the last few years in an attempt to grow the music industry and these have had remarkable effects on …
Race, Audience, Multitude: Afrikaans Arts Festivals and the Politics of Inclusion
This article explores the popularity of Afrikaans hip-hop in cultural spaces that would have been coded as exclusively white and Afrikaans under apartheid - these include the Klein Karoo Nasionale Kunstefees (KKNK) and this festival's music component, Kaktus op die Vlaktes. In particular, the band Brasse vannie Kaap's increasing popularity since 2000 is examined in order to consider whether the work of hip-hop artists opens up new possibilities f…
Canto ergo sum: I sing, therefore I am
Post-apartheid, multicultural and multiracial South Africa sees many South African citizens repositioning and redefining themselves. Essentially, (new) South Africans are engaged in a process of identity revision and reconstruction. Badsha (2003: 132) argues that these renegotiation processes are still informed by old configurations and conditions. This article argues that for a period of almost 50 years, from about 1937 until the early 1980s, th…
Interview with Peter Klatzow
Honey, let's waltz the day out: The effects of popular music on wedding celebrations in Botswana
Wedding songs are an integral part of Setswana wedding celebration. They are not just sung for entertainment purposes, but talk about issues related to marriage and married life in general. They also express what is socially and culturally expected of the bride and groom in their new status as husband and wife. Botswana, like many other developing countries, is undergoing rapid changes due to modernisation and globalisation. Nowadays, recorded po…
Pitch Black Language: The Quest for Language Purity in isiZulu popular music
The aim of this paper is to explore the purity of the isiZulu language in current isiZulu popular music. South Africa has a Language Policy, which declares that all languages are equal and advocates the elevation and use of indigenous languages in all spheres of society. This has seen an increased use of South African indigenous languages such as isiZulu in different genres in the music industry. The language in music is used either monolingually…