Description
This book offers a formal perspective on the subject of African musicology. The aim is to examine regional musicological issues and trends to establish a continental view of this field. Our initial focus is on Zimbabwe, a representative of southern Africa, through a collection of articles. We plan to expand our examination to include other regions and eventually compile all the puzzle pieces. This particular edition delves into several key areas, such as music technology, cultural mainstreaming and preservation, and curriculum challenges. The transition to digital technology in music technology has significantly transformed the music industry in Zimbabwe. Although large, costly infrastructures such as music recording studios remain prevalent, the emergence of bedroom studios has led to a democratisation of music production. Digital workstations have rendered unnecessary the need for expensive and highly customised analogue equipment. However, this shift has come at a cost, as the over-reliance on technology has resulted in a loss of warmth and character in music. Consequently, ongoing debates have arisen regarding the merits of mastering Cubase 5 versus Wavelab 6. Furthermore, advances in modern music instrument technology have presented challenges in the production of marimbas and mbiras.
The education system’s shortcoming in teaching arts in schools necessitates immediate attention. To address this issue, it is recommended that teachers collaborate with local artists to develop a comprehensive and engaging arts curriculum. Additionally, contemporary artists must engage in meaningful conversations with indigenous artists to foster cultural exchange, mutual understanding, and artistic growth within the community. Festivals are commonly perceived as stages for presenting performances. However, followers of the mbira dzabadzimu custom contend that altering the instrument can impair the preservation of Shona cultural legacy. They are averse to performing the mbira at improper venues and making adjustments to the instrument, as they place great significance on safeguarding its originality and reverence. Moreover, the Roman Catholic Church in Zimbabwe’s Chishawasha is confronted with the risk of losing its songs due to inadequate documentation, waning interest among the young generation, and the scarcity of musical notation.
CONTRIBUTING AUTHORS
Abigial Baureni Locardia Sango
Almon Moyo Magdalene F. Zivengwa
Claudio Chipendo Martison Nhamo
Doubt Maushe Tafadzwa B. Chipendo
Givewell Munyaradzi Khulekani F. Moyo
Jairos Gonye Vimbai Chamisa
Kapfumvuti Omarger Weston Chimbudzi
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