These are some of the restricting factors he encountered in his first publication on local musics In this situation, it makes sense that he should begin his study with a survey of the material culture of music in the form of musical instruments. His work on the tympani book prepared him for studying musical instruments. Kirby did not train in the range of disciplines that succeeding generations of ethnomusicologists would study. We can lament the lack of the empirical fieldwork methods of social anthropology, for example.
The result is that we do not find in his work many aspects of the music cultures that he studied and which we would expect today. There are transcriptions of short snatches and longer passages of music, occasional well-observed drawings of an instrument or a detail, and so on. This necessitates a great deal of painstaking archival work to bring these musicians into history with, perhaps, a biography, as some of the best South African historical writing has achieved. He was not alone in this regard, as social science research tended to present anonymous subjects. This remains the practice where ethics require or the individual requests anonymity.
The result is a discourse about the music of ethnic group X, rather than the possibility of considering the practice of individuals. It has the effect of rendering the material depersonalised, and, given the contemporary prevailing trends in South Africa, assigned to an ethnic grouping that functioned as discrete siloes.
Kirby was not alone in this social evolutionary approach, which was common in the social sciences in South Africa in the s. He published many of his African music research articles in this journal, and was influenced by and even took his lead from the discourse of Bantu Studies at Wits and beyond. Kirby followed theories about the prehistory and history of southern African populations and, in particular, was influenced by Raymond Dart, Wits professor of Comparative Anatomy, in theorising the development of the peoples and music cultures of southern Africa.
Firm adherence to two theories, social evolutionism and diffusionism, guided his work, feeding directly and indirectly into the currents of scientific racism in South African theory and public discourse. That Kirby was strongly influenced by these streams of theorising is evident in this book, and he maintained these ideas even in his later writings, though the social evolutionist strand was contested in the South African academy. Riches abound in the text, which are not negated by dated theory and language.
Among many instances of thoughtfulness in this correspondence, one is typical—a intervention to secure tax relief for Kwalakwala, a field consultant. Kirby had spoken to the magistrate in Bloemhof and followed up with a letter delivered by hand to the official to assist an ailing and impoverished man in his seventies. This Kirby, who contributed richly to the social and artistic life of Johannesburg and Cape Town, does not appear in this book, though his wit, charm and humanity sparkle in his memoirs and in odd corners of his writing.
The wax cylinder recordings, too, have become severely degraded, and only a few minutes of sound have been recovered from these. Blacking, John. In South African music encyclopedia , vol. Edited by J. Cape Town: Oxford University Press.
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Burchell, William John. Travels in the interior of southern Africa. Dubow, Saul. Scientific racism in modern South Africa. Johannesburg: Witwatersrand University Press. In Africa today: a multidisciplinary snapshot of the continent in Edited by Peter F. Alexander, Ruth Hutchison and D.
Canberra: Australian National University. Hamilton, Carolyn. History in Africa , Kirby, Percival Robson. Some old-time chants of the Mpumuza chiefs. Bantu Studies , 2 1 My museum of musical instruments.
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Lucia, Christine. The world of South African music. UK: Cambridge Scholars. Olwage, Grant. Scriptions of the choral: The historiography of black South African choralism. SAMUS Without such assistance it would have been impossible for me to cover so large a field, for in the course of my investigations I have had to travel many thousands of miles. I undertook no fewer than nine special expeditions to distant native areas, as well as many shorter excursions.
On these expeditions I frequently lived in native kraals, and participated in the musical performances of the people, the only way, in my opinion, for a European observer to learn and understand the principles underlying native music. In this book my chief aim has been to attempt to supply specific and detailed information, and to correlate to some extent the earlier and often rather vague generalizations on the subject which have appeared in the works of travellers.
For hundreds of years little was known of it except those portions near the coast, which from the fifteenth century were regularly visited and described by travellers from many lands. The interior, on the other hand, remained practically unknown until the nineteenth century, when the driving force of European colonization opened it up rapidly, revealing a strangely chaotic mixture of races whose past history is only now being brought to light.
Further, those non-African peoples who from time to time have visited the east coast of Africa, and even penetrated far inland, have had singularly little influence upon the peoples dwelling south of the Limpopo, and such influence may, I think, be readily recognized.
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In other words, the native races which have inhabited large areas of South Africa for the last five centuries or so have retained much of their original culture, although they have naturally exchanged many ideas and adopted not a few. There remains, it would seem, in spite of inter-tribal wars and their inevitable consequences, much that is ancient and individual among the various native peoples of South Africa.
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The musical instruments used by them illustrate this well, and, from the point of view of the ethnologist, the study of them would appear to possess a double value, since they partake both of the material and the spiritual. I have therefore tried to trace, where possible, the history of the various types of musical instruments found in South Africa, using as a basis the wealth of historical material which the country is fortunate in possessing, together with the evidence of native tradition and ritual.
I have also endeavoured to indicate, as precisely as I could, the geographical and tribal distribution of the instruments, and likewise to secure their nomenclature, from which much may be deduced. Finally I have, by personally studying most of the instruments under the guidance of native experts, attempted to reveal their true nature, as well as the materials from which they are made and the manner of making them.
In the course of my study I have been fortunate enough to acquire over three hundred specimens of South African native musical instruments, a number of which are rarely seen by European visitors; many others I have observed in use in the field. As a further check I have examined practically all the musical instruments in public collections in this country, as well as many in Europe. The ultimate result of my investigations, which I cannot hope to be exhaustive, in spite of the generous assistance of many willing helpers, will, I trust, show that, although the musical instruments of the native peoples of South Africa may, at first sight, appear simple and their players unsophisticated, in reality they display not only constructive ingenuity on the part of their makers but also a real understanding of certain of the basic phenomena of sound.
To the African, music, one might say, is life, rather than a part of life; and although this study deals only with a part of that music, I trust that it will serve to show in some measure how full and varied the musical life of the African is. The names of the various instruments I have checked as well as I could; but, since there are so many different dialects, I must confess at once that I may have omitted many variants; yet I venture to hope that the work is neither very inaccurate nor very incomplete in this respect. With regard to the spelling of native words, I have tried to be as consistent as is possible in these days of orthographic argument; in most cases I have used the more commonly accepted forms.
Again, when quoting from any writer I have always preserved his spelling of native words.
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It would have been a simple matter to call in the aid of our phonetic experts and use phonetic script for all these words; nevertheless, with the exception of certain Bushman and Hottentot words I have not done so, since this book is not primarily a linguistic study. In the same way I have decided to present the musical illustrations in European notation. Occasionally I have used a plus or minus sign to show that a note is higher or lower by less than a semitone than the notation indicates.
But I think that it will be clear that, with few exceptions, such fine shades of intonation do not exist for the South African native. True, his musical system is radically different from that of present-day Europe, but, like that of many Europeans, his pitch-sense is frequently at fault, and the almost universal lack of permanent absolute pitch standards gives him little opportunity of improving it. Pitch, to the South African native, is, however, chiefly relative, not absolute. But in the harmonic series he has a definite standard by which he may measure intervals; and it is one of my objects to demonstrate to what a great extent it has controlled his musical art.
The map shows the general distribution of the various native peoples; no map which shows the exact distribution exists as yet, although steps are being taken to prepare one. The difficulty will be realized when it is pointed out that, although in a province like the Transvaal there are, as indicated on my map, certain areas where particular tribes are to be found, yet in those very areas large numbers of other tribesmen have settled.
Again, although strictly speaking the Pedi are actually Transvaal Sotho, I have only used the former name for them when referring to the particular people who inhabit the area shown on the map. Further, I would point out that the older writers, when using the name Damara, were usually referring to the race now known as Herero. The index of musical instruments has been deliberately made very full in the hope that it may assist students who may wish to identify specimens whether in the field, in museums, or described in books.
I have made no mention of the musical instruments played by the Indians of Natal or by the Chinese on the Rand, because I have found that such instruments have had no influence upon those of the native races of South Africa. WHILE writing this book, the original edition of which was published in , I found it necessary to make several very important decisions regarding it.
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In the first place I had to decide whether to arrange my material tribally, or to deal with each type of musical instrument separately from the technological and historical points of view, allowing the tribal aspects to emerge incidentally. I chose the second of these alternatives, my chief reason for doing so being that I wished the work to be, as far as was possible, a complete and comparative study of one particular aspect of the life of our aborigines. In the second place I had to determine what was the most suitable manner of classifying the various musical instruments.
For this reason I preferred to retain the age-old simple classification of musical instruments into the three main groups of percussion, wind, and string. They are:. It will be seen at once that no musical instrument belonging to Division 5 has ever been made or used by aborigines of South Africa. With this as a guide, any museum director or musicologist will be able to place the musical instruments that I have described in their appropriate divisions.
But when I began to reflect on the subject I soon realized that it might not only be a matter of addition but in some cases of subtraction. For during the past thirty years the rapidly increasing urbanization of the non-European inhabitants of our country has resulted, as might have been expected, in a dying out of many old tribal institutions and the disappearance of many objects of material culture, including musical instruments. The case of the mbila , the great resonated xylophone of the Venda, is typical, for the old craftsmen who used to make it and the skilled musicians who used to play it have all died, and as they were apparently unable to train successors, the instrument is no longer being made and is now virtually extinct.
The historical importance of the resonated xylophone, however, is so great that I have devoted several paragraphs to further consideration of it in my additional appendix. Since I have published twenty-one papers on African musical practices, a dozen of which are concerned with instrumental music. One of these was the report on the music of certain Bushmen which I studied during the Witwatersrand University Kalahari Expedition of , of which I was a member.
Descriptions of the musical instruments observed on this and on other occasions appear in the new appendix, under the titles of the appropriate chapters of this book. Finally I would add that my more recent studies in comparative musicology have convinced me that, though the greater part of the continent of Africa has for centuries been subjected to foreign influences, the effects of which are plainly visible to the ethnomusicologist, South Africa, south of the Limpopo, has largely escaped those influences.
The few exceptions, such as the Tshopi and the Venda areas, are so distinctive that they serve to throw into strong relief the fact that South Africa is still able to demonstrate to the world three separate stages in the development of music, and also how these have reacted one upon another.
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In no other part of the world, as far as I am aware, is it possible to compare the musical practices of three different epochs in human history, as represented by our Bushmen, Hottentots, and Bantu, or to be in a position to observe in action what may legitimately be regarded as some of the earliest stages in the evolution of musical instruments. Young, for his continued interest, encouragement, and advice. My thanks are due to the many friends who have helped me in the collection of the material and in the checking of facts for this book.
In particular, I owe a deep debt of gratitude to my colleague, Professor L.