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Faculty of Social Sciences Department of Music and Musicology MIDLANDS STATE UNIVERSITY FACULTY OF SOCIAL SCIENCES DEPARTMENT OF MUSIC AND MUSICOLOGY The impact of the colonial legacy on music performance, focusing on the Zimbabwe Republic Police Band By PATSON MANYAME (R14953Q) A dissertation submitted to the Faculty of Social Sciences in partial fulfilment of the requirements for Bachelor of Science (Honours) Degree in Music and Musicology Supervisor: Mr. R. Muranda November 2016 Approval Form The undersigned certify that they have read and recommended to the Midlands State University for Acceptance; a dissertation entitled “The impact of the colonial legacy on music performance, focusing on the Zimbabwe Republic Police band”, submitted by Manyame Patson in partial fulfillment of the requirements for the Bachelor of Science (Honours) Degree in Music and Musicology Supervisor: Mr. R. Muranda Signature………………………………………………………………. Date……………………………………………………………………. Programme co-coordinator ……………………………………………. Signature……………………………………………………………….. Date…………………………………………………………………….. External examiner……………………………………………………. Signature……………………………………………………………… Date…………………………………………………………………... i Dedication This dissertation is dedicated to my mother Jesca Mazhombwe for her unwavering support towards my education. ii Abstract It is undoubtedly that colonialism had a dominant and long-lasting impact on Africa hence it has continued to draw a lot of scholarly attention. The research’s main objective was to explore the impact of the colonial legacy on music performance and used the Zimbabwe Republic Police (ZRP) Band as a case study. The research gives a brief summary of the history of the band because its performance can neither be explained nor understood without first unravelling the historical context. The theoretical framework which informs the study is based on Modernisation and African Renaissance theories of development. To collect data, the researcher used interview, questionnaires, and observation. The researcher used stratified sampling procedure to add some boundaries to the process of selection and to apply the principle of randomness within these boundaries. Purposive sampling was also used to bring in people who are critical informants into the research. Results from the study reveal that the colonial legacies are still held important in the band and used to enhance skills development of singers and instrumentalists. On the other hand the findings realised that over reliance on some the colonial legacies has a likelihood of creating a strait jackets in the performance of the band. The study recommends the ZRP band to relinquish irrelevant colonial legacies like the playing of European calls at Police ceremonial events in order to suit contemporary music performances and African contexts. The research also recommended the band to reorient the prevailing music instructional methods such that African methods of learning music can become part of the training process. iii Acknowledgement Many thanks to all those who have helped me through this research, without whom it would have never been possible. Firstly, thanks to the Almighty God for the wisdom and grace to live through this work related experience. Secondly thanks to Band Training Staff and colleagues for their technical assistance in compiling this report. I also extend my appreciation to the Zimbabwe Republic Police command for affording me time and space to explore sections of the Band. There are those closer home who contributed to the completion of this report by placing me as the author in a position to start, sustain and finish the research. For this reason, and many others, I would like to dedicate this report to my family. Last but not least, special thanks to my supervisor Mr Richard Muranda and the Midlands State University particularly the department of Music and Musicology staff for their guidance and continual mentorship. iv Table of Contents Contents Page Approval Form ......................................................................................................................................... i Dedication ............................................................................................................................................... ii Abstract .................................................................................................................................................. iii Acknowledgement ................................................................................................................................. iv Table of Contents .................................................................................................................................... v Chapter One: Outline of the Study.................................................................................................1 1.1 Introduction ................................................................................................................................. 1 1.2 Background ................................................................................................................................. 1 1.3 Statement of the problem ............................................................................................................ 3 1.4 Research Questions ..................................................................................................................... 3 1.5 Objectives ................................................................................................................................... 4 1.6 Theoretical Framework ............................................................................................................... 4 1.6.1 Modernisation theory .......................................................................................................... 4 1.6.2 African Renaissance theory ................................................................................................ 5 1.7 Significant of the Study............................................................................................................... 5 1.8 Limitations .................................................................................................................................. 5 1.9 Delimitation of the Study ............................................................................................................ 6 1.10 Location ...................................................................................................................................... 6 1.11 Definitions of Terms ................................................................................................................. 10 1.12 Overview of the Study .............................................................................................................. 10 1.13 Conclusion ................................................................................................................................ 11 Chapter Two: Literature Review ...................................................................................................... 12 2.1 Introduction ............................................................................................................................... 12 2.2 Theories on development .......................................................................................................... 12 2.2.1 Modernisation theory ........................................................................................................ 12 2.2.2 African Renaissance theory .............................................................................................. 14 2.3 What is Colonial Legacy? ......................................................................................................... 15 2.4. Nature of Colonial legacies ....................................................................................................... 16 2.4.1 Four-part harmony and European syllabi .......................................................................... 16 2.4.2 Military music ................................................................................................................... 17 2.4.3 Discipline .......................................................................................................................... 18 2.4.4 Music notation and sight reading ...................................................................................... 19 2.4.5 European songs ................................................................................................................. 21 2.4.6 Copyrights ......................................................................................................................... 23 2.4.7 Licensing ........................................................................................................................... 24 2.5 African musical contexts ........................................................................................................... 25 2.5.1 Performance composition ................................................................................................. 26 2.5.2 Improvisation .................................................................................................................... 26 2.5.3 Repetition in African music .............................................................................................. 27 2.5.4 Musical space in African music ........................................................................................ 27 2.5.5 Belief system ....................................................................................................................
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