A re-contextualisation of Charles Keil’s theory of participatory discrepancies in the music of the Presbyterian Church of Mozambique

Abstract

This article re-contextualises Charles Keil’s theory of participatory discrepancies in order to examine how the members of the Presbyterian Church of Mozambique are able to create contexts for participatory performances of Reformed Church hymns that reflect the musical style of the Tsonga-speaking people. These performances come to represent the dynamic ways in which group performances can occur as well as the dual heritage of the Tsonga-speaking Christians who fuse their culture with the heritage of Christianity as introduced by Swiss missionaries in the nineteenth century.

JOURNAL OF THE MUSICAL ARTS IN AFRICA VOLUME 10 2013, 105–117