{"id":{"repo_id":"venda","oai_identifier":"oai:univendspace.univen.ac.za:11602/2771"},"canonical_url":"https://search.dev.ndltd.org/etd/venda/oai:univendspace.univen.ac.za:11602/2771","repository":{"repo_id":"venda","name":"University of Venda","base_url":"https://univendspace.univen.ac.za/server/oai/request"},"display":{"title":"Implications of African Pianism on the arrangement and Orchestration of mmino","abstract":"African songs generally find their origins in social, cultural, and political interactions, primarily stemming from community-centric activities. Communal and social engagements deeply influence the shaping and preservation of African knowledge, cultural traditions, artistic expressions, and songs. Additionally, systematic cultural codes play a significant role in shaping performance styles, song structures, and the usage of musical instruments. As a result, songs become a repository of cultural identity, reflecting an artistic sense of logic and embodying cultural lore, ethos, and ways of understanding. The dissemination of indigenous knowledge predominantly relies on oral tradition and systems, which align with African societies' natural modes of knowledge transmission. Traditional songs persist in an oral context, playing a crucial socio-cultural role. Despite the challenges of colonialism, imperialism, and urbanisation, these songs have resiliently resisted modern Eurocentric cultural influences. Reading and writing have become integral to knowledge storage, exchange, and development in the contemporary landscape. This study's main research question is: \"How can African pianism influence the transcription, arrangement, and orchestration of mmino (indigenous African music) to incorporate non-indigenous instruments while preserving traditional performative techniques?\" The study aims to achieve three primary goals: firstly, the development of a systematic method for transcribing, notating, arranging, and orchestrating indigenous music; secondly, the incorporation of non-indigenous African instruments; and thirdly, the arrangement of music for the piano as a principal instrument in the ensemble while maintaining an indigenised performative technique (Africanism). These approaches underscore the symbiotic relationship between orality and literacy. Utilising a practiceled methodology, defined as an approach rooted in or centred around where the practice itself is the focal point of the investigation, this study presents an African children's game song for adaptation, notation (creation of music scores), and a studiorecorded performance. The sections encompass rhythm, brass, woodwinds, strings, and percussion. Consequently, the study provides music scores and audio files for further analysis and theorisation, serving as a blueprint for the future adaptation, transcription, and notation of Indigenous African songs for modern instruments.","abstract_html":"African songs generally find their origins in social, cultural, and political interactions, primarily stemming from community-centric activities. Communal and social engagements deeply influence the shaping and preservation of African knowledge, cultural traditions, artistic expressions, and songs. Additionally, systematic cultural codes play a significant role in shaping performance styles, song structures, and the usage of musical instruments. As a result, songs become a repository of cultural identity, reflecting an artistic sense of logic and embodying cultural lore, ethos, and ways of understanding. The dissemination of indigenous knowledge predominantly relies on oral tradition and systems, which align with African societies' natural modes of knowledge transmission. Traditional songs persist in an oral context, playing a crucial socio-cultural role. Despite the challenges of colonialism, imperialism, and urbanisation, these songs have resiliently resisted modern Eurocentric cultural influences. Reading and writing have become integral to knowledge storage, exchange, and development in the contemporary landscape. This study's main research question is: "How can African pianism influence the transcription, arrangement, and orchestration of mmino (indigenous African music) to incorporate non-indigenous instruments while preserving traditional performative techniques?" The study aims to achieve three primary goals: firstly, the development of a systematic method for transcribing, notating, arranging, and orchestrating indigenous music; secondly, the incorporation of non-indigenous African instruments; and thirdly, the arrangement of music for the piano as a principal instrument in the ensemble while maintaining an indigenised performative technique (Africanism). These approaches underscore the symbiotic relationship between orality and literacy. Utilising a practiceled methodology, defined as an approach rooted in or centred around where the practice itself is the focal point of the investigation, this study presents an African children's game song for adaptation, notation (creation of music scores), and a studiorecorded performance. The sections encompass rhythm, brass, woodwinds, strings, and percussion. Consequently, the study provides music scores and audio files for further analysis and theorisation, serving as a blueprint for the future adaptation, transcription, and notation of Indigenous African songs for modern instruments.","abstract_has_math":false,"creators":["Phoshoko, Magalane T."],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":["Mapaya, M. G.","Wanyama, M. N."],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024-09-06","date_published":"2024-09-06","updated_at":"2026-07-27T21:57:55Z","subjects":["Cultural identity","Oral tradition","Indigenous African music","Africanism","Transcription","Community - centric cultural identity","UCTD"],"languages":["en"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://univendspace.univen.ac.za/handle/11602/2771","outbound_label":"Repository record","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Mapaya, M. G.","Wanyama, M. N."]},{"key":"dc:creator","label":"Author","values":["Phoshoko, Magalane T."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2024-10-24T08:07:26Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2024-10-24T08:07:26Z"]},{"key":"dc:date.issued","label":"Date","values":["2024-09-06"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Cultural identity","Oral tradition","Indigenous African music","Africanism","Transcription","Community - centric cultural identity","UCTD"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://univendspace.univen.ac.za/handle/11602/2771"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Ph. D. (African Studies)","Department of Human and Social Sciences"]},{"key":"dc:description.abstract","label":"Abstract","values":["African songs generally find their origins in social, cultural, and political interactions, primarily stemming from community-centric activities. Communal and social engagements deeply influence the shaping and preservation of African knowledge, cultural traditions, artistic expressions, and songs. Additionally, systematic cultural codes play a significant role in shaping performance styles, song structures, and the usage of musical instruments. As a result, songs become a repository of cultural identity, reflecting an artistic sense of logic and embodying cultural lore, ethos, and ways of understanding. The dissemination of indigenous knowledge predominantly relies on oral tradition and systems, which align with African societies' natural modes of knowledge transmission. Traditional songs persist in an oral context, playing a crucial socio-cultural role. Despite the challenges of colonialism, imperialism, and urbanisation, these songs have resiliently resisted modern Eurocentric cultural influences. Reading and writing have become integral to knowledge storage, exchange, and development in the contemporary landscape. This study's main research question is: \"How can African pianism influence the transcription, arrangement, and orchestration of mmino (indigenous African music) to incorporate non-indigenous instruments while preserving traditional performative techniques?\" The study aims to achieve three primary goals: firstly, the development of a systematic method for transcribing, notating, arranging, and orchestrating indigenous music; secondly, the incorporation of non-indigenous African instruments; and thirdly, the arrangement of music for the piano as a principal instrument in the ensemble while maintaining an indigenised performative technique (Africanism). These approaches underscore the symbiotic relationship between orality and literacy. Utilising a practiceled methodology, defined as an approach rooted in or centred around where the practice itself is the focal point of the investigation, this study presents an African children's game song for adaptation, notation (creation of music scores), and a studiorecorded performance. The sections encompass rhythm, brass, woodwinds, strings, and percussion. Consequently, the study provides music scores and audio files for further analysis and theorisation, serving as a blueprint for the future adaptation, transcription, and notation of Indigenous African songs for modern instruments."]},{"key":"dc:title","label":"Title","values":["Implications of African Pianism on the arrangement and Orchestration of mmino"]}]}],"canonical_facts":{"dc:contributor.advisor":["Mapaya, M. G.","Wanyama, M. N."],"dc:creator":["Phoshoko, Magalane T."],"dc:date.accessioned":["2024-10-24T08:07:26Z"],"dc:date.available":["2024-10-24T08:07:26Z"],"dc:date.issued":["2024-09-06"],"dc:description":["Ph. D. (African Studies)","Department of Human and Social Sciences"],"dc:description.abstract":["African songs generally find their origins in social, cultural, and political interactions, primarily stemming from community-centric activities. Communal and social engagements deeply influence the shaping and preservation of African knowledge, cultural traditions, artistic expressions, and songs. Additionally, systematic cultural codes play a significant role in shaping performance styles, song structures, and the usage of musical instruments. As a result, songs become a repository of cultural identity, reflecting an artistic sense of logic and embodying cultural lore, ethos, and ways of understanding. The dissemination of indigenous knowledge predominantly relies on oral tradition and systems, which align with African societies' natural modes of knowledge transmission. Traditional songs persist in an oral context, playing a crucial socio-cultural role. Despite the challenges of colonialism, imperialism, and urbanisation, these songs have resiliently resisted modern Eurocentric cultural influences. Reading and writing have become integral to knowledge storage, exchange, and development in the contemporary landscape. This study's main research question is: \"How can African pianism influence the transcription, arrangement, and orchestration of mmino (indigenous African music) to incorporate non-indigenous instruments while preserving traditional performative techniques?\" The study aims to achieve three primary goals: firstly, the development of a systematic method for transcribing, notating, arranging, and orchestrating indigenous music; secondly, the incorporation of non-indigenous African instruments; and thirdly, the arrangement of music for the piano as a principal instrument in the ensemble while maintaining an indigenised performative technique (Africanism). These approaches underscore the symbiotic relationship between orality and literacy. Utilising a practiceled methodology, defined as an approach rooted in or centred around where the practice itself is the focal point of the investigation, this study presents an African children's game song for adaptation, notation (creation of music scores), and a studiorecorded performance. The sections encompass rhythm, brass, woodwinds, strings, and percussion. Consequently, the study provides music scores and audio files for further analysis and theorisation, serving as a blueprint for the future adaptation, transcription, and notation of Indigenous African songs for modern instruments."],"dc:identifier.uri":["https://univendspace.univen.ac.za/handle/11602/2771"],"dc:language.iso":["en"],"dc:subject":["Cultural identity","Oral tradition","Indigenous African music","Africanism","Transcription","Community - centric cultural identity","UCTD"],"dc:title":["Implications of African Pianism on the arrangement and Orchestration of mmino"],"dc:type":["Thesis"]},"updated_at":"2026-07-27T21:57:55Z"}