22 Social-Musical Relations in Improvisation: Performing at a Bira

Chapters in this book

1. Frontmatter i
2. Contents v
3. Preface vii
4. Introduction 1
5. Part A. Components of the Mbira System
6. 1 Collecting Ideas in an Improvisation-Based Tradition: A Longitudinal Approach 11
7. 2 The Mbira Repertory: Central Concepts 19
8. 3 Representing Mbira Music in Notation 29
9. 4 Sounds Ringing in My Head: Mbira Parts’ Designs 37
10. 5 Hand Dance: Keyboard Polyphony and Polyrhythmic Templates 41
11. 6 In the Shadows of the Imagination: Harmonic Motion 49
12. 7 Composed Variations 57
13. 8 Variation Techniques 61
14. 9 The Fluidity of Perception in Performance 69
15. 10 The Interlocking Aesthetic: Kushaura-Kutsinhira Combinations 81
16. Part B. A Biography of Knowledge: The Cultivation of Cosmas Magaya’s Personal Style
17. 11 The Acquisition of Repertory, and Its Associations 91
18. 12 The Path from Re-creation to Invention 101
19. 13 Musical Arrangements: The Systemization of Aural Preferences 109
20. 14 Musical Influences: Incorporation and Modification of Others’ Styles 119
21. Part C. The Application of Knowledge in Performances
22. 15 Improvisation and the Individual Mbira Player 127
23. 16 Narrative Tours of the Magayas’ Individual Kushaura and Kutsinhira Nhemamusasa Performances 137
24. 17 Narrative Tour of Kunaka’s Solo Nhimutimu Performance 147
25. 18 Comparative Analysis of Individual Players’ Nhemamusasa and Nhimutimu Performances 153
26. 19 Improvisation and Kushaura-Kutsinhira Interplay 163
27. 20 Narrative Tours of the Magayas’ Kushaura-Kutsinhira Interplay in Nhemamusasa Performances 175
28. 21 Comparative Analysis of Collective Resources and Creative Processes in Nhemamusasa Performances 185
29. 22 Social-Musical Relations in Improvisation: Performing at a Bira 193
30. 23 Conclusion 209
31. Part D Music Texts 219
32. Acknowledgments 525
33. Notes 529
34. References 579
35. Filmography/TV Programs/Videography 595
36. Index 597