PAN African Journal of Musical Arts Education

Experiential knowledge as a musical resource

KettyJackline Maina — 2024-08-18

Historically, music pedagogy has witnessed the implementation of diverse teaching models in different educational settings. Within the academic realm, for example, music theory and instrumental training approaches have been developed to align with standardized curricula, considering the diverse musical histories and cultures across the globe. Even so, there is a growing trend among individuals to explore alternative modes of instruction beyond traditional school environments. These alternative methods encompass online platforms and one-on-one in-person tutoring, among other options. Such modalities have prompted recognition of exponents who provide music tutorage having not acquired formal music training but possess knowledge through lived experience. Their practically inclined teaching approaches and demonstration of musical artistry have sparked interest in people, who subsequently aspire to learn music and play instruments. Their efforts have played a crucial role in fostering the need for music education in the music domain and the entire art industry. In doing so, they establish a prominent presence in music pedagogy, and consequently, in formal educational settings. Considering this, I examine the contributions by such educators within the music industry, particularly in the field of education. Using qualitative case study methods such as interviews, I explored different non-formal pedagogical approaches and interrogated their impact on learners. Insights from these interviews revealed that observation, replication, and innovation are utilized as instructional approaches in non-formal settings, with students studying under peers, master musicians, and family members. Through this, students acquire musical exposure as they develop skills that align with the music industry. Such training ought to be integrated into academic curricula to enhance music scholarship and ensure its relevance locally and within global contexts.

Exposing Uganda’s Cultural Mosaic: An examination of the Endingidi’s origins, educational and aesthetic dimensions

Benon Kigozi — 2024-08-18

The field of music analysis has experienced significant growth, encompassing diverse aspects such as corporal movements in instrumental performance, dance studies, and cognition-centric methodologies. This paper provides a historical overview of the endingidi, a traditional tube-fiddle, within a broader context. It examines the materials used in constructing the endingidi as well as the challenges encountered in this process. Additionally, the paper explores the performative expressive elements of the endingidi, including accompanying gestures. Despite the enduring presence of the endingidi as a timeless traditional instrument, there remains a notable gap in comprehensive studies that unravel its intricate cultural significance, an oversight this investigation conscientiously seeks to address. The study identifies challenges in material sourcing for the endingidi due to scarcity and environmental degradation. Proposed interventions include afforestation, alternative materials, government support, and community engagement. Emphasizing sustainable practices and responsible harvesting, it urges government leadership, documentation of techniques, and community support for artisans. Linking to broader music education challenges, it advocates for government resource allocation. Providing a nuanced understanding of the endingidi, it underscores multidimensional approaches to safeguarding it as part of Ugandan cultural heritage, highlighting the importance of sustainability, research, government, and community involvement in preservation efforts.

Dissemination of Marimba performance skills through workshops: The Case of Rimba Resonance Vibes Ensemble

Wonder Maguraushe — 2024-08-18

The Zimbabwe Marimba music performance has been disseminated both locally and globally, transcending national barriers since the Kwanongoma marimba was designed in Bulawayo in the 1960s at the United College of Education. There has been a phenomenal rise in marimba performance activities in Europe and America, while there is relative calm in Zimbabwe where the marimba was designed. This study chronicles my role in the dissemination of marimba performance within Zimbabwe with Rimba Resonance Vibes Ensemble from an insider perspective. The lull in local activity is largely due to the country’s socio-economic struggles which have led to marimba instructors, lecturers, tutors, and performers leaving for greener pastures. A yawning gap now exists, and the agency role is critically needed so that there are deliberate efforts to pass marimba performance knowledge and skills to the next generation, and conducting workshops is one way in which applied ethnomusicologists can advocate for the continuity of this culture. This paper is an autoethnographic account of my role in teaching marimba music performance experiences at marimba workshops in Zimbabwe. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s marimba workshops, describe the situation in Zimbabwe marimba music performance practices, and reflect on the nature of practice, skills development, and education. The paper reveals the concerted effort that marimba teachers need to invest to ensure the survival of their art in the future. There is a glaring need for action and dissemination to sustain the art of marimba music performance by bands based in Zimbabwe.

Autoethnographic memoirs of Rimba resonance vibes ensemble festival performances

Wonder Maguraushe — 2024-08-18

Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnography I present perspectives on my marimba music performance experiences at local and regional festivals in Zimbabwe and South Africa. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s performances, describe the culture of Zimbabwe marimba music performance practices, and reflect on various permutations of the practice in which the art has been kept alive in Zimbabwe in the wake of a brain drain. The findings show multiple challenges that we face as marimba musicians. There is a glaring need for agency and advocacy to sustain the art of marimba music performance by bands based in Zimbabwe.

An assessment of the relevance of primary school choir directors’ musical competencies on quality performances

Locardia Sango — 2024-08-18

Choir directors are key players in the role of choral music training and performance. The quality of a choral performance is highly dependent on their musical competencies among other factors. This exploratory qualitative case study argues that the development of musicians’ expressive communication of a composer’s intentions to an audience hinges on the directors’ ability to interpret choral music scores. Without proficiencies, no meaningful teaching of the songs is achieved, resulting in substandard performances. Informed by Bower’s theory on choral practice, this study assesses the Shamva primary school trainers’ musical competencies. The relevance of the proficiencies on quality performances is also assessed. Data were gathered from [N=10] ten purposefully sampled choir trainers with a wide range of experiences in choral music participation and school competitions through non-participant observation, document analysis, and face-to-face interviews. Findings reveal that the majority of choir trainers had very limited music theoretical knowledge, which made it difficult to apply to performances. The study established a relationship between the significance of competencies to individual capability levels. The recommendation of intensive regular competency upgrading courses, workshops, and seminars for trainers to improve levels of knowledge, skills, and performance is made. Performance standards and the choral music quality are creative entrepreneurship products.