African Musicology Online

Tonality and Atonality of Speech Surrogacy as Resource for African Pianism

Seun Owoaje — 2025-01-20

While a good portion of African traditional music exists in the song idiom, a sizable part of the music of indigenous Africa is expressed in the speech mode, seen predominantly in drums and other instruments performance. The resultant effect of speech mode in Indigenous African instrumental music is known as speech surrogacy, which is the utilising of musical instruments to communicate like in spoken words. This paper investigates the aspect of pitch organisation, within the context of tonality and atonality, in ‘Verve Dialogues with Àjàntálá', an ensemble piece by the author, in which the piano plays a prominent role, within the principles of African pianism and makes use of speech mode as it exists in Dùndún tradition. Through the analysis of the case study piece, the extensive use of speech surrogacy in the piano part score and the process through which tonality and atonality lend credence to the ‘traditionalisation’ of the piano as a modern African instrument – a practice now known as ‘African Pianism’ is discussed. This paper ultimately presents the potential in the tonality and atonality of speech surrogacy as a tonal resource cardinal to evolving a viable model in African pianism.

An Analysis of Indigenisation Dynamics of Kenya Army Band Martial Music

David Ekal — 2025-01-25

The weakening of British rule and the eventual emancipation of Kenya from colonial control brought the promise of a free nation able to validate its indigeneity through art, culture, and music. However, the Kenyan army band martial music has not fully realised this potential. Sixty years after independence, the Kenya army band plays British-style music and has slowly adapted to indigenous music. This paper is part of a continuing study at Langata Garrison in Nairobi, the home of the Kenya Army Band. The study employed a qualitative approach and a case study research design to analyse selected martial music scores. The guiding theory for this study is Hungry Listening: Resonant Theory, which aims to deconstruct colonisation elements through decolonial listening. The study reveals that while some progress has been made in incorporating Indigenous music, a more deliberate and broad-based approach is needed to cut the umbilical cord of the colonised from the coloniser.

From rebellion to revenue: Revisiting commercialisation and digital platforms in Kenyan political protest music

Amon Kipyegon Kirui — 2025-03-11

This study explores the commercialisation of Kenyan protest music and how it affects its original political intent, with a focus on the transition from underground struggle to mainstream success. It further examines how digital platforms, such as social media and music streaming services, have reshaped the dissemination, reach, and reception of protest music, influencing both its economic success and political efficacy. Anchored in Antonio Gramsci’s Cultural Hegemony Theory, this study explores how dominant cultural forces, such as the media and music industry, form popular ideologies and impact the political and economic roles of protest music. The research adopted a qualitative methodology, incorporating content analysis of chosen Kenyan protest songs and semi-structured interviews with Kenyan youth, particularly those involved in the recent Gen Z led protest in Kenya. The findings show significant growth in repurposed protest songs, driven by social media's role in their virality. These platforms, according to the findings, enhance accessibility, broadening audiences and boosting artists' critical and commercial success. Viral protest songs amplify public engagement with political issues, while commercialisation and digital platforms expand their reach and cultural impact, solidifying protest music as a powerful force. This study concludes that commercialisation and digital platforms contribute favourably to the transmission and influence of protest music, defying past notions regarding its dilution. Future studies should explore the potential development of Gramsci’s Cultural Hegemony Theory to include the transformative function of digital platforms in redefining cultural resistance.

Let a Woman Conduct: Gender Dynamics in Church Choral Ministries within the Baptist Churches of Southwestern Nigeria

Oluseun Sunday Odusanya — 2025-04-03

The paper addresses women's participation in church choral ministries, focusing on women as conductors. Despite the growing recognition of women leaders, women's involvement in music ministries is often challenged by gender- and tradition-based barriers. The study examines how women overcome these barriers, shape worship styles, and enrich the church's spiritual and musical life. This study employs a qualitative research method, utilising in-depth interviews with 15 women choral conductors, surveys of 30 church music directors across various denominations, and a critical analysis of historical and contemporary literature. Thematic analysis was used to interpret qualitative data, identifying key themes related to gender dynamics, leadership experiences, and musical influence within church settings. The research is guided by feminist theory, as outlined by Hooks (2000), and ecclesiological theory proposed by Johnson (2015). The paper outlines how women have shaped worship experiences and congregations' spiritual and artistic identity through historical examples, personal narratives, and contemporary practice. By juxtaposing their leadership within the discourses of religion and art, this article pays tribute to women conductors who employ their batons to glorify God and inspire others in the sacred domain of church ministries. The paper concludes that to tap the full potential of women in church music, there needs to be a deconstruction of the gendered barriers that continue to constrain their leadership opportunities. Churches must proactively offer mentorship, professional training, and equal leadership roles for women. Future research should explore the impact of cultural and denominational variations on women's leadership equality in church music, investigate the long-term career trajectories of women conductors, and examine the role of theological education in shaping gender-inclusive music ministries.

The Uptake of Live-streaming Technology among Zimbabwean Musicians and their Audiences

Louisa Mlambo — 2025-04-20

The advent of digital technology has resulted in new possibilities in the music industry as concerts are now accessible from any connected location on the globe. In recent years this has been coupled with the COVID-19 crisis that had a catastrophic impact on the music industry that sustains millions of employees such as performers, recording studios, and publishing companies. The purpose of this study was to examine the acceptance of live-streaming technology among Zimbabwean musicians and their audiences during and soon after the pandemic. This was qualitative research in which respondents were purposively selected. Netnography was used in which the study observed the use of live-streaming on digital platforms such as Gateway Stream, YouTube, and Facebook. Interviews were used to collect primary data, which was triangulated with observation and document analysis. Findings reveal that music live-streaming in Zimbabwe has network challenges and artists and fans end up preferring live performances. Collaboration between the music and IT industries can create Zimbabwe-owned platforms and software for affordability, compatibility, and ease of use. The researchers argue that artists should actively embrace technology to grow their fan bases and benefit from online presence. The study also recommends live-streaming physical performances for wider reach. Further research is needed to determine the income and effectiveness of live-streaming platforms.

An analysis of Alick Macheso’s Music in Promoting Mediation and Conflict Resolution

Richard Muranda — 2025-04-28

Music has long been a powerful medium for social commentary, advocacy, and conflict resolution. In Zimbabwe, Alick Macheso’s music has emerged as a critical platform for addressing issues of peace, harmony, and interpersonal conflict. Through a qualitative approach, the paper explores how Macheso’s three purposively selected songs, Tererai, Kutadzirana, and Chikuru kurarama are useful as tools for communication, offering messages that encourage mediation, self-reflection, reconciliation and positive societal values. Drawing on critical discourse analysis and thematic interpretation, the study highlights how Macheso’s select lyrical content integrates traditional values, cultural metaphors, and everyday experiences to convey messages that resonate with his audience. Through using a contextualised appeal to his lyrics within Zimbabwe’s socio-political landscape, the paper examines the broader implications of his chosen songs to promote peace and resolve conflicts in communities. Findings suggest that Macheso’s music plays a significant role in fostering dialogue, challenging harmful behaviours, value to life, and inspiring collective response toward peaceful coexistence.