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In many parts of sub-Saharan Africa, the use of music is not limited to entertainment: it serves a purpose to the local community and helps in the conduct of daily routines. Traditional African music supplies appropriate music and dance for work and for religious ceremonies of birth, naming, rites of passage, marriage and funerals. [1]
"Shosholoza" is a traditional miner's song, originally sung by groups of men from the Ndebele ethnic group that travelled by steam train from their homes in Zimbabwe (formerly known as Rhodesia) to work in South Africa's diamond and gold mines.
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
Zenzile Miriam Makeba was said to have been one of the most influential and popular musicians of Africa, beginning in the 1950s. She was a part of three bands, including one all-woman band and two others. She performed all types of jazz music, traditional African music, and music that was popular in Western Africa at the time.
Xhosa music has long been a major part of the music of South Africa, especially in the field of jazz. Since olden times, singing has been a tradition and part of culture among the Xhosas. Xhosa music is characteristically expressive and communicative which includes rhythmical expression of words and sounds.
Dance is closely integrated with traditional music and an essential element of its performance. [5] [11] [15] Many of the instruments used in traditional songs require deliberate, complex movement of the body, particularly through the use of rattles. [10] Play songs feature staccato sounds, made by clapping or by wearing rattles. [16]
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Boeremusiek is a genre steeped in the history of Afrikaner identity and politics, but it also reflects the complex intersections of race, class, and culture in South African music. Its evolution from a hybrid form of folk music to a symbol of white Afrikaner nationalism complicates simple narratives about its origins and meanings.
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