The role of indigenous African choral music in the search for identity: With special reference to Mzilikazi Khumalo's music

ABSTRACT

This article recognises the gradual attempt by South African choral music composers to produce music that is identifiably African. Two of Khumalo's works, as well as a number of scores of composers who preceded him are discussed. Open-question interviews were conducted to obtain Mzilikazi Khumalo's views. A number of other choral musicians such as choir conductors, choristers and choral music adjudicators were also interviewed. The research on which this article is based has established that most of the composers that came before Khumalo tended to combine indigenous African and Western idioms. It was only in 1980, after he had completed Izibongo zikaShaka, that Khumalo developed very interesting melodies, rhythms and structures that were typically African. Whilst his compositions are not African in all respects, they incorporate most of the well-known traditional Zulu indigenous musical styles. This article provides information that should encourage and influence future composers to continue devising strategies to promote the establishment of a truly South African indigenous choral music identity, one that will contribute to the depth and richness of the rainbow nation.

Keywords:

• African movement
• antiphony
• Black Consciousness
• folk songs harmony
• syncopation