Curriculum Vitae For

Total Page:16

File Type:pdf, Size:1020Kb

Curriculum Vitae For CURRICULUM VITAE FOR CHRISTOPHER MUVE GWA TIMBE Personal Profile: Forenames Christopher Muvengwa Surname Timbe Sex Male Date of birth 23 rd January 1954 ationality Zimbabwean ational 1.0. 63-167227-0-63 Driver's License Class 4 and 5, (14208 F) Passport No. BN 824407 Marital Status Married Contact- tel. 0772302097 - e-mail [email protected] Physical address 20571 Unit "B" Seke. Chitungwiza. Personal Vision: To contribute to National and International human development by being an interesting, practical, effective and competitive personality in the dissemination of information, skills and attitude acquisition in various fields, through usage of varied and appropriate methodologies. Key areas of interest: • Teacher Education. • Teaching children and young adults. • Working with people of different age groups, different academic levels, backgrounds, interests and nationalities. • Curriculum and Material Development. • Manufacturing and restoration of musical instruments. • Project Management and Fundraising for Education purposes. Personal Strengths: • Self motivated. Using own initiative and working out workable solutions to get things done. (Jack of alllrades and master ofsol11c') Multi-talented person. • Great believer in synergies of team \vork. Chns Till/be C. /"" Curriculum Vitae • Facilitator of learning of both theoretical and practical disciplines and sensitive to participant and learner needs. Good energizer of learners. • Computer literate, can create and use Power Point. • Self-driven person, working with out supervision and good communication skills. • Skill in playing of various Musical instruments. • Committed and responsible family-man. Education and Training: • Bachelor of Education: Teacher Education-Music (U.Z). 1995 • Methods of Teaching: (University of Zimbabwe) 1996 • Teachers Certificate (T3). (Waddilove Teacher Training College) 1976 • Music Instructors' Certificate: (Kwanongoma College of Music) 1982 • Piano Grade 3: ABRSM (London) 1981 • Guitar Grade 4: ABRSM (London) 1981 • Theory of Music Grade 6 : ABRSM (London) 1981 • Project proposal Writing and Management: (ZIPAM) 1999 • Certificate in Computers: (Future Kids) 2000 Skills Acquired: • Project Writing • Project Management, Monitoring and Evaluation. • Assessing and Evaluating learning and learning outcomes guided by set out learning objectives. • Initiating and fostering partnerships based on equality of participants of/with common interests. • Documentation and reporting. • Learning material writing and compilation. • Organizing learning for people with mixed ability levels. Work Experience and key Responsibilities: Current Work: • Sub Committee member-Cultural Industries- (Culture Fund of Zimbabwe Trust). -Appraising grantee applications and recommending for funding. 2003-todate -Follow-up and monitoring of the above grantees. C/ms rill/be c. /', Curriculum Vitae • Facilitator-Creative Enterprises-(British Council and Culture Fund of Zimbabwe Trust). -Training artists chosen from six different sub sectors-Film, Performing Arts, Theatre, Cultural Industries, Literary and, to be Entrepreneurs. In Zimbabwe and Sierra Leone. • Music Trainer- (Ministries of Education, Pre-Schools, Chipawo Performing Arts Diploma and Churches)- (Melo-Rhythm Instruments & Consultants (Pvt) Ltd.)­ Coaching of Music and Dance, Theory of Music and Music Education. -Adjudication of Choir, Dance and Percussion Band competitions. -Training musical instrument makers-mbira, hosho, ngoma and tambourines. • Musical instrument manufacturer-(Melo-Rhythm Instruments & Consultants (Pvt) Ltd). -Operating a manufacturing Company, producing instruments of African origins and repairing/restoring old musical instruments. • Thematic Committee member- COPAC The new Zimbabwe Constitution -gathering information from Artists. -representing Artists by presenting their wishes on the constitution, to the Constitution Parliamentary Committee. Previous Work Experience: • Primary Schools- 1977 to 1979. -teaching all subjects grade 6 up to grade 7. -train children in extra mural activities-Music. • Syracuse University USA. "African Experience Cultural program-Lectures in African Music and Dance. (1998- 2000) • Senior Lecturer-Teacher Training-Seke Teachers' College (1983-1996), Morgan ZINTEC (1997). -Lecturer-in-charge of the Music area. -Putting Schemes of work together. -Setting Examinations, projects and marking them. -Interviewing students for various intakes. -External Assessor with the University of Zimbabwe. -Writing Modules for Distance Music Education with Distance Education Centre. -Writing Syllabi for Primary Schools. Secondary Schools-Form 2. 4 and 6, with the Curriculum Development Unit. • Zimbabwe College of Music-Deputy Director (1998 -2000). -Reporting to the Director. -Organizing and supervising teaching and Learning to group and class settings. -Fundraising for students' tuition fees and the general running of the college. -Initiating partnerships and linkages with other organizations thus promoting our own Music and Dance regionally and beyond Africa. Clms Tllnbe C I~ Curriculum Vitae • Zimbabwe College of Music-Director (2001-2006). -Reporting to the Board of Governors. -Lead the College staff and the community in having knowledge of the vision of the College and participate in such activities as would promote our Zimbabwean cultures and those of other nationalities. -Starting the Bachelor of Music Degree and other courses. -Source funds for College activities especially students' fees. -Represent the College well in all activities-locally and internationally -Participate in local and international activities -Workshops, Conferences Symposiums. • Zimbabwe Culture Fund Board member and H.R. Chairperson. (2003 - 2004) -Contribute to the management of and implementation ofculturally based activities, by grant recipients. • Zimbabwe Association of Music Educators-Member and Facilitator (1989). -Teaching Marimba, Dance, Mbira and Children's songs to Norwegians in Zimbabwe and Norway. • Zimbabwe Association of Music Educators-National Chairman-(2001to 2005). -Co-coordinating activities of the association locally with-Chipawo, Zimbabwe College of Music and internationally- orway, South Africa, Mozambique, Malawi as in Umoja-The Cultural Flying Carpet-an international cultural exchange program. • National Committee on the Intangible Cultural Heritage member (2000- 2001 )-Proclamation of Masterpieces of Oral and Intangible Heritage ofHumanity U ESCO • orth /South Friendship-Malawi Music Teachers and Gweru Music Teachers- (2002) Marimba, Mbira, Dance and voice training. • The Musical Instrument Academy orway -Assessor (2000) • Tonga Music -Research by Sheasby Matiure (Respondent). • UNESCO workshop-The Place of Museums and Monuments In Zimbabwe. (2001). (Participant) • Botswana Music Students' Work shops. -Pumolongung. (2001). (Organizer) • United Nations Peace International Day W/shop. (2001) (Participant). • Aids counseling Trust W/shop: Stigma & Discrimination- A Youth Perspective for Effective Response to HIV and AIDS (2001) (Participant) • UN Human Right Day - Brainstorming W/shop. Justice, Equity and Co­ operation. (2003). (Participant) • Black History Month-US Embassy- (recitals). • Harare International Festival of The Arts-(2001 to-date).Performances, teaching and paper presentations. _ • British Council- Symposium: Deepening Mutuality: Three year Program for the Arts in the British Directorates of Zimbabwe, Zambia and Malawi. (2002). Participant. lIms TIll/be C, .. Curriculum Vitae Publications • Teal Record Company (1979) single record. -"Hama Dzangu" • C.D.U. Primary Schools percussion Bands -Song -"We Want To Play" (1998) -Song - "Stop The War"' (1999) -Song - "Elnino" (2000). • Contributions- Township Music by Joice Jenje Makwenda-(200 I) -Shona Music Dictionary by U.Z. African Languages and Literature (2004) -Back To Culture -Compilation of Films on Cultural Exchange Between Norway and Zimbabwe-Kalivold Films (2001) -Primary and Secondary Music Syllabi (1999) -Kusanganisa Festival London: Website www.southmedia.co.uk./paQes/kusanganisa.htmland http://www.dandemutande.com/Magazine/Kusanganisa2000.httnl Selected major Workshops/Conferences taken Part in • Papers Presented: -Pan African Society for Music Educators-PASME (1997) Educating the Professional Musician in Zimbabwe -The Role of Music Education in Zimbabwe Music Industry. -International Conference on Music Therapy and Healing-University Of Ghana (1997) Music Therapy in Zimbabwe: Facing the Future. (With Robson Ruzvidzo, Fellow, ICAMD. -Kusanganisa Festival, Britain Zimbabwe Society. SOAS University of London (2001 ).-"Cultural Innovation as an engine for change." -WIPO National Round Table on the Economic Contribution and Performance of the Copyright Based Industries. Organized by WIPO and ZIPO (2010). Financing of Creative Industries in Zimbabwe: Opportunities and Challenges. • Taken Part in: -International Society for Music Educators (1998). Pretoria: The International Music Education Calendar- (Participant). -Zimbabwe Arts & Culture Indaba (2010). Harare. - (Participant). -Swedish Development Agency and Zimbabwe Culture - Stakeholder Consultative (2004). -Musical Therapy and Healing: Wits University (1998) (Participant) -UNDP - Artists Against Poverty Campaign (Adjudicator and Facilitator of group discussions). -Workshop on UNESCO 2005 Convention on the Protection and Promotion of the Diversity of Cultural Expressions: Implications for Zimbabwe, Intellectual Property; Practical solutions for Zimbabwe. (2000). -Baseline Study on The Culture Sector in Zimbabwe. (2009) (Respondent). Chns Till/be C /', Curriculum Vitae Referees: Or. Sheasby Matiure Mr. Claudio Chipendo University of Zimbabwe (Doctoral Student) Department of Teacher Education University Of Fort Harre Mount Pleasant P.B.X1341 Barare. Alice 57100 Tel: 0733754198 S.A. c1auchi [email protected] 0773092665.
Recommended publications
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]
  • PERFORMER ROLE CODES Role Code
    PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer
    [Show full text]
  • I Traditional African Music
    I Traditional African Music Brothers and sisters, the white man has brainwashed us black people to fasten our gaze upon a blond-haired, blue-eyed Jesus! —Malcolm X European and European-American art galleries display African art, but they usually fail to name the artists. They credit tribes or regions with the production of works of art, but rarely were these artifacts created by more than one person. Similarly, they pay scant attention to the history of the regions from which African art emerges. This suggests that museums, like zoos, are interested primarily with the ownership of African art (and the profit that can be made) and hold less concern for the African people who produced the art. Although we know the names of a significant number of modern African American innovators, the music business remains conspicuously more concerned with profit than with the welfare of their artists. The legacy of exploitation and bigotry that the slave era ushered forth left indelible imprints on the entire history of Global African music. Relatively few readers interested in “jazz” have a general knowledge of African history. So it is important to shed at least a bit of light on what Europeans long considered the “Dark Continent.” Exploring the complex history of a continent as large and diverse as Africa within a few introductory pages is an impossible task. But it is possible to explore the origins of African people and to raise relevant questions regarding the contexts and circumstances within which “jazz” emerged and evolved. Africa Before the
    [Show full text]
  • November 14-17, 2018 Indianapolis, Indiana
    Percussive Arts Society International Convention INDIANAPOLIS, INDIANA NOVEMBER 14-17, 2018 EXPAND YOUR PASIC EXPERIENCE! RUDIMENT TRAINING, BOSTON CRUSADERS AUDITIONS SUNDAY DRUM CIRCLE FACILITATION WORKSHOP, CLOSING DRUM CIRCLE EVENING CONCERTS AND EVENTS EXPERIENCES FULL CASH BAR NOW AVAILABLE WORLDS FASTEST DRUMMER, LATE NIGHT HANGS TABLE OF CONTENTS 6 PAS President’s Welcome 8 Special Thanks 14 Area Map and Restaurant Guide 16 Convention Center Map 20 Exhibitors by Name 21 Exhibit Hall Map 22 Exhibitors by Category 24 Exhibitor Company Descriptions 36 Artist Sponsors 40 11.14.18 Schedule of Events 41 Focus Day Schedule of Events 42 11.15.18 Schedule at a Glance 44 11.15.18 Schedule of Events 50 11.16.18 Schedule at a Glance 52 11.16.18 Schedule of Events 56 11.17.18 Schedule at a Glance 58 11.17.18 Schedule of Events 62 About the Artists 84 PAS History 86 PAS 2018 Awards 89 PAS Hall of Fame 90 PASIC 2018 Advertisers PASIC is a program of the Percussive Arts Society, whose mission is to inspire, educate, and support percussionists and drummers throughout the world. Learn more at PAS.org CSM14657 PASIC Program 2018 Spread.qxp_Layout 1 10/19/18 2:44 PM Page 1 Sound is the Priority Yamaha Corporation is recognized around the world as the leader in musical instruments and sound reinforcement products. On the stage, in the studio and on the field, players choose Yamaha products to achieve peak performance. Yamaha brings an unparalleled ability to blend YX-230 9300 Series 3300 Series the best of the acoustic and digital worlds.
    [Show full text]
  • Zimbabwean Mbira Music and Modern Spirituality in the Western United States
    Zimbabwean Mbira Music and Modern Spirituality in the Western United States Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By James Daniel Lindroth, BM Graduate Program in Music The Ohio State University 2018 Thesis Committee: Ryan Skinner, Adviser Isaac Weiner Michelle Wibbelsman Copyright by James Daniel Lindroth 2018 Abstract Zimbabwean music found its way to the Western United States through a visiting artist in the ethnomusicology department at University of Washington in the 1960s. In this paper, I look at some of the consequential musical practices that have spread throughout the United States since then. More specifically, I look the mbira dzavadzimu, a lamellophone from the Shona people of Zimbabwe, and the role its music has taken on within the North American Zimbabwean music community. I examine the ways the music also fits within movements of modern spirituality, defined by the borrowing of foreign practices as a means of accessing “spiritual experiences.” I trace a history of the instrument through the United States, as well as the spread and attention to it within both the North American musicking community and scholarship. I then describe the “spiritual” felt by mbira players and how the sociality inherent to the performance of the instrument helps define said spiritual experiences. Finally, I describe the practices of American mbira players and the ways engaging with the music authentically allows them access to heightened affective states. This document serves the purpose of showing the ways mbira dzavadzimu is positioned within modern spirituality and the idiosyncrasies of mbira performance as a spiritual practice.
    [Show full text]
  • Faculty of Social Sciences Department of Music and Musicology a Study of Matendera Traditional Dance of the Karanga People of Ma
    + FACULTY OF SOCIAL SCIENCES DEPARTMENT OF MUSIC AND MUSICOLOGY A STUDY OF MATENDERA TRADITIONAL DANCE OF THE KARANGA PEOPLE OF MATSVERU, CHIVI BY MEMORY MANGOBE (R15033T) A DISSERTATION SUBMITTED TO THE FACULTY OF SOCIAL SCIENCES IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE BACHELOR OF SCIENCES HONOURS DEGREE IN MUSIC AND MUSICOLOGY AT MIDLANDS STATE UNIVERSITY SUPERVISOR: DOCTOR CHIPENDO. C OCTOBER 2017 MIDLANDS STATE UNIVERSITY FACULTY OF SOCIAL SCIENCES APPROVAL FORM The undersigned certify that they have read and recommend to the Midlands State University for acceptance of a dissertation entitled: A study of Matendera traditional dance of the Karanga people of Matsveru, Chivi submitted by Mangobe Memory in partial fulfilment of the requirements of the BSc Honours Degree in Music and Musicology. SUPERVISOR Chipendo. C Date.......................... CHAIRPERSON Matiure. P Date.......................... EXTERNAL EXAMINER .......................Date.......................... i FACULTY OF SOCIAL SCIENCES DEPARTMENT OF MUSIC AND MUSICOLOGY RELEASE FORM NAME OF AUTHOR : MANGOBE MEMORY TITLE OF PROJECT : A study of Matendera traditional dance of the Karanga people of Matsveru, Chivi PROGRAMME FOR WHICH DISSERTATION WAS PRESENTED: Bachelor of Social Science (Bsc) Music and Musicology Honour Degree YEAR GRANTED : 2017 Permission is hereby granted to the Midlands State University Library to produce single copies of this project and to lend or sell such copies for private, scholarly or scientific research purposes only. The author does not
    [Show full text]
  • January-February 2006
    CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 6 Number 1 January-February 2006 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers BridgingBridging Appalachian,Appalachian, BluegrassBluegrass andand CountryCountry O'BROTHER WHERE ART THOU PROPELS FOLK ICON RALPH STANLEY INTO POPULAR CULTURE BY DENNIS ROGER REED inside this issue: he fire lit group of white hooded, Klan-like figures has just spent several minutes in cho- American reography owing equal parts to a Busby Berkeley cinematic spectacle and a Nazi rally, Social Dance T with a soundtrack borrowed from the evil monkeys of the Wizard of Oz. A hush falls over the assemblage, and a lone, unaccompa- nied voice seems to emanate from hell or some much cold- Richard er place. Decked in a fiery red hood and robes, the leader of the quasi-Klan stands between two flaming torches, and Dyer-Bennet sings Oh Death, an old Appalachian number where a mortal man begs death for a stay of time. Around him the hooded figures continue their “dance,” and several of the racist PLUS: henchman drag Tommy Johnson, a black bluesman, towards PLUS: a gallows. It’s quite a movie memory from O Brother, Where Art Thou the Coen Brother’s tribute to the Odyssey and Ross Altman’s 1930’s film noir. A fine film, and this scene is particularly How Can I Keep effective. How Can I Keep And in many ways this scene was a Godsend to the true From Talking source of that haunting voice, Ralph Stanley.
    [Show full text]
  • Sub-Saharan Africa Quick Culture/History Many Areas of Sub-Saharan Africa Were Organized Into Large, Powerful Kingdoms Ruled By
    Sub-Saharan Africa Quick Culture/History Many areas of Sub-Saharan Africa were organized into large, powerful kingdoms ruled by multi- generational dynasties. Beginning in the 1500s, kingdoms and other large areas were conquered under the policies of colonialism by European governments (particularly Portugal, Spain, France, Germany, Belgium, The Netherlands, and Britain). Colonialism allowed European governments to exploit the manpower and natural resources of their colonial holdings while also ensuring a captive market for their export products. In return, the local people were seen to be “saved” by their colonial masters through efforts to “civilize” them, which came in the sometimes positive forms of education and infrastructure but also in things such as forced cultural change, especially in regards to religion and customs. In the late 19th Century, the remainder of Africa was divided amongst the colonial powers with absolutely no regard for geography, cultural, ethnic, or historical boundaries. When these newly-formed nations gained their independence, largely in the decades following WWII until about 1980, the new nations often consisted of citizens from disparate and sometimes violently conflicting ethnic communities. Conversely, members of the same ethnic group may be split among two or more adjacent nations. In this way, it is often more useful to discuss African cultures in terms of their ethnic/cultural rather than their national identities. Music of Community It would be impossible to do just to ALL of the cultures of Sub-Saharan Africa, as the number of languages, ethnic groups, and musical traditions number in the several hundreds, possibly thousands. However, a few VERY broad generalizations may be observed: Polyrhythm- the performance of music in multiple different simultaneous meters.
    [Show full text]
  • Afroton Katalog 11.Indd
    INSTRUMENTE DER WELT Rüsselsheimer Straße 22 D 60326 Frankfurt Tel. ++49 (0)69 97 30 31-0 2011/12 INSTRUMENTE DER WELT Fax ++49 (0)69 97 30 31-21 www.afroton.de 2011/12 [email protected] INSTRUMENTE DER WELT Inhaber: GBR Röttger, Kajela-Röttger Michael Röttger Textbearbeitung Dasitu Kajela-Röttger Konzeption Andreas Koschate Fotos Caspar Arnhold Maya Röttger Franz Aumüller Konzeption Wolfgang Hörstel Bildbearbeitung Jan Fries Textbearbeitung RT Druckwerkstätten GmbH Druck Copyright by 2011 INHALTSVERZEICHNIS Seit 25 Jahren machen wir uns zur Aufgabe, Ihnen die Welt der Rhythmen und Klänge nahezubringen, Afrikanische Trommeln Seite 6-25 Lebensfreude, Kommunikation und ein friedliches Melodieinstrumente Seite 26-39 Miteinander der Kulturen, dafür stehen die Instrumente. Trommeln international Seite 40-57 Unser neuer Katalog gibt einen Überblick über unser Großhandelsprogramm. Sambainstrumente Seite 58-71 Afroton Trommeln werden nach unseren Spezifikati- Percussionsinstrumente Seite 72-99 onen in ausgesuchten Produktionsstätten in der Elfen- beinküste, Guinea, Mali und Ghana hergestellt. Blasinstrumente Seite 100-107 Machart, Einsatz und Herkunft der Instrumente finden Klanginstrumente Seite 108-121 sich in den Beschreibungen, die detaillierten Größen und Formenangaben entnehmen Sie bitte der Zubehör Seite 122-129 Preisliste. Bücher, CDs, DVDs Seite 130-135 Wir wünschen viel Freude beim Blättern und natürlich beim Spielen der Instrumente. Index A-Z Seite 136-137 Djembe, klein AD 006-008 Djembe, small AD 006-008 Djembe, Standard AD S01-S03 Djembe, standard AD S01-S03 Unsere S-Klassen Djemben sind auch Our S-Class Djembes in einem attraktiven Leopardenmus- are also available in an attractive ter erhältlich: AD S01L-S03L leopard design: AD S01L-S03L Handgefertigter Holzkörper aus Handcarved wooden body made out einem Stamm, Ziegenfell, stimmbare of one trunk, goat skin, rope system Schnurbespannung.
    [Show full text]
  • Traditional African Music 2
    Z African Roots of the Jazz Evolution Third Edition Z By Karlton E. Hester, PhD University of California, Santa Cruz A J Bassim Hamadeh, CEO and Publisher Michael Simpson, Vice President of Acquisitions and Sales Jamie Giganti, Senior Managing Editor Miguel Macias, Senior Graphic Designer Kristina Stolte, Senior Field Acquisitions Editor Alexa Lucido, Licensing Specialist Kaela Martin, Associate Editor Rachel Singer, Associate Editor Copyright © 2017 by or Cognella, Inc. All rights reserved. No part of this publication may be re- printed, reproduced, transmitted, or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information retrieval system without the written permission of Cognella, Inc. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Printed in the United States of America ISBN: 978-1-63487-498-4 (pbk) / 978-1-63487-499-1 In Memory of Clara and Webb Hester, Jr. CONTENTS Preface vii Foreword ix An Introduction to Afrocentric Music xv I. Traditional African Music 2 II. The Sociocultural Context in Which 60 African American Music Emerged III. Traditional African American Music 90 IV. Innovators Emerging Between 1900 and 1910 140 V. Innovators Emerging Between 1910 and 1920 198 VI. Innovators Emerging Between 1920 and 1930 234 VII. Innovators Emerging Between 1930 and 1940 290 VIII. Innovators Emerging Between 1940 and 1950 346 IX. Innovators Emerging Between 1950 and 1960 412 X. Innovators Emerging Between 1960 and 1970 454 XI.
    [Show full text]
  • A Tale of Two Mbiras
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Rhodes University: Hosted Journals 102 JOURNAL OF INTERNATIONAL LIBRARY OF AFRICAN MUSIC A TALE OF TWO MBIRAS by TONY PERMAN This is the tale of two kinds of mbira from Zimbabwe: mbira dzavadzimu and mbira dzaVaNdau.1 Both began as narrowly localized instruments, but they’ve had very divergent fates over the past one hundred years. The mbira dzavadzimu has become widely known throughout Zimbabwe, a presence in popular music, and a potentially viable economic choice for some musicians. It is played throughout the world, and has become part of the ethnomusicological canon, a literal textbook example of world music (Locke 2009; Turino 2011). During the same period, the mbira dzaVaNdau has quietly faded into near anonymity and virtual disappearance in Zimbabwe.2 In this article, I explore the reasons for this divergence and the role ethnomusicology has played in this history and I ask, what is ethnomusicology’s responsibility when it becomes part of the tale it hopes to tell? There are five basic types of lamellophone in Zimbabwe: the karim ba, the smallest of the five; the matepe, a ceremonial instrument from northern Zimbabwe; the njari,3 less common now than at any point over the last hundred years; and the two mbiras I focus on in this article. I restrict my use of the term mbira to instances in which these two instruments are involved.4 For the sake of such clarity, I add the common qualifiers mbira dzavadzimu and mbira dzaVaNdau as necessary.5 I have been a student of each mbira for many years, and my involvement with both has underlined for me their differing trajectories on the ground in Zimbabwe and in the ethnomusicological literature.6 123456 1 The argument presented here has emerged from numerous long-term relationships with my mbira teachers, to whom I continue to owe a debt of gratitude.
    [Show full text]