PAN African Journal of Musical Arts Education
This maiden issue of the PAN African Journal of Musical Arts Education (ISSN 2312 – 6655 Print) (SSN:2958-8804, Online) marks the beginning of a high-quality and open-access peer-reviewed research journal that is published by The Pan African Society for Musical Arts Education (PASMAE). PAN African Journal of Musical Arts Education provides a platform for researchers, academicians, professionals, practitioners, and students to share knowledge in form of high-quality research papers, case studies, and literature reviews. The PAN African Journal of Musical Arts Education welcomes and acknowledges high-quality theoretical and empirical original research papers, case studies, review papers, literature reviews, book reviews, conceptual frameworks, analytical and simulation models, technical notes from researchers, academicians, professionals, practitioners, and students.
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Reimagining Music Education-Industry Pathways: Cultural Capital Conversion Through Merit-Based Systems
The global creative economy faces a persistent disconnect between educational credentials and professional opportunities, particularly acute in developing countries where formal qualifications often fail to translate into sustainable careers. This study empirically investigated how technology-mediated merit-based systems facilitate cultural capital conversion among professional musicians in Nairobi, Kenya. Through in-depth interviews with five professional musicians representing traditional, digital-first, and hybrid pathways, using interpretive phenomenological analysis, we examined lived experiences of navigating education-industry transitions. The study revealed four interconnected cultural capital conversion pathways: direct embodied capital demonstration through digital portfolios, accelerated social capital formation via WhatsApp networks, reputational capital accumulation through platform metrics, and algorithmic capital conversion requiring platform-specific literacy. Key findings demonstrated that successful musicians develop hybrid competency portfolios integrating traditional skills with digital platform knowledge rather than relying on single pathways. All participants maintained multiple income streams due to economic necessity, with digital platforms serving as discovery mechanisms that ultimately connected to offline professional relationships. The research validated theoretical frameworks while revealing important contextual nuances, including platform dependency vulnerabilities and infrastructure challenges. Implications include curriculum reform integrating business skills and platform literacy, policy investments in digital infrastructure, and recognition that merit-based systems complement rather than replace traditional educational pathways in developing-country contexts.
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Algorithmic Creativity: A Systematic Review of AI and Artistic Expression in the Digital African Landscape
This systematic review investigates the nascent interface between artificial intelligence and artistic expression within the digital realms of Kenya and the larger African continent. The paper, underpinned by the theoretical lenses of Actor-Network Theory and Critical AI Studies, seeks to critically explore the network of human and non-human actors constituting the phenomenon of algorithmic creativity. The objective of this systematic review is to review and synthesise extant literature on opportunities and challenges of generative artificial intelligence in the African creative space. A comprehensive search was performed covering major academic databases (including WoS, Scopus, ProQuest, and IEEE Xplore) and grey literature from 2014 to 2025. Thematic synthesis was used in analysing the literature retrieved. The primary findings suggest a vibrant and dynamic system in which African artists are hailing AI as equal partners in creating new Afrofuturist stories, challenging cultural stereotypes, and levelling the creative playing field. Nonetheless, this adoption process is riddled with numerous risks, including algorithmic bias replication, a novel ‘data colonialism’ mode that extracts cultural value with no reciprocation, and a severe legal gap in IP protection. The review concludes that although generative AI offers novel opportunities for the expression of art, its ethical and sustainable utilisation requires a steadfast decolonial outline. A decolonial AI frame is dependent on creative sovereignty, community-centred data stewardship, and culturally responsive AI algorithmic creation to fully harness the potential of AI in African creative expression.
The Use of Indigenous African Repertoires in Developing Literacy in Visual and Performing Arts Learners in Chiredzi District, Zimbabwe
Zimbabwe’s attainment of independence in 1980 from British rule brought some hopes of a decolonised school curriculum. However, 40–five years after independence, Zimbabwe continues to have the challenge of a largely Eurocentric school curriculum. The current Visual and Performing Arts (VPA) content requires alignment to local realities so that it has relevance to the local society. This study examines the use of indigenous African music repertoires and how they enhance concept formulation among learners. Premised on the Afrocentricity theory, the paper interrogates how indigenous music heritages can be utilised to develop literacy in VPA lessons. A qualitative approach was used to carry out a case study, with twenty teachers purposively selected and ten learners who were randomly selected to make a total of 30 participants. Five schools were picked to constitute a case study in Chiredzi district owing to the fact that the grasping of teaching and learning concepts in this region, especially in the English language, remains diminished and limited. Research findings revealed that teachers faced difficulties in developing music literacy aspects such as time values, rhythm, and pitch in VPA teaching and learning. This reveals a need to decolonise the school curriculum that tends to be culturally irrelevant to the African context. To address the problem, professional development workshops should be mounted to help teachers develop effective, culturally pertinent content.
Music Education in Malawi under Scrutiny
This study examines the impact of inadequate foundational music education on university music students in Malawi. It analyses performance gaps revealed during Work Integrated Learning (WIL) placements and explores systemic factors contributing to these challenges. Guided by Vygotsky’s socio-cultural theory, phenomenological qualitative research explored the experiences of internship host institutions that supervised Malawi University of Science and Technology (MUST) music students between 2022 and 2024. Semi-structured telephone interviews were conducted and analysed thematically. The study revealed a significant knowledge gap, including inadequate theoretical grounding, limited instrumental proficiency, and misalignment between academic curricula and industry demands. Despite these, the students demonstrated adaptability and enthusiasm, particularly in flexible settings such as media houses and non-governmental organisations. The study faced a limitation of a smaller number of participants than had been anticipated. The study suggests an immediate curriculum reform to be carried out, which should involve the industries, including the integration of music education at foundational levels, the provision of learning materials, and active collaboration between universities and industry stakeholders.
Cultural Capital and Market Forces: Navigating Music Production Dynamics in Kenya’s Contemporary Music Industry
This study examines the interplay between cultural capital and market dynamics in Kenya’s contemporary music production industry, interrogating how digital platforms, genre hybridisation, and shifting audience preferences reshape the valuation and operationalisation of cultural capital. Drawing on Bourdieu’s (1986) theory of cultural capital, the research employs a qualitative phenomenological approach, incorporating interviews with industry stakeholders, content analysis, and document review to explore tensions between cultural authenticity and commercial viability. Findings reveal that digital platforms like Boomplay and Mdundo act as gatekeepers, institutionalising cultural capital through metrics-driven validation while prioritising hybrid genres such as Gengetone and Afro Neo-Benga. These platforms create a feedback loop where streaming data influences production decisions, compelling artists to negotiate between local identity and global market demands. The study highlights a critical misalignment between formal music education and industry needs, exemplified by producers’ struggles to integrate embodied cultural capital (e.g., traditional musical knowledge) with technical proficiency in global genres. The analysis underscores the dual role of cultural capital as both an artistic resource and market force, emphasising the need for curricula that bridge technical expertise with deep cultural literacy. This research contributes to broader debates on cultural commodification, digital intermediation, and the evolving role of cultural capital in Africa’s creative economies.
The Impact of Parental Influence on Students' Music Subject Selection at A-level in Ugandan Secondary Schools
This study investigates the impact of parental influence on students' selection of music as a subject in Ugandan A-Level secondary schools, amid declining enrolment in the music subject field. This research paper aims to understand how parental perceptions and attitudes toward music influence students’ subject choices, focusing on concerns over career viability and societal views on music subjects. A descriptive survey design was employed, involving questionnaires and interviews with 211 participants, including at A-level former music students (those who offered music at O-level and did not continue with it at A-level), their parents, school administrators, and music teachers. Stratified random sampling and purposive techniques were used to select respondents from secondary schools in central Uganda, with data collected through structured questionnaires and a Likert scale. Results indicate that parental discouragement significantly deters students from choosing music as a subject at A-level due to perceived limitations in career prospects and cultural attitudes, aligning with societal preferences for traditionally prestigious subjects. Limited generalizability outside of Ugandan A-level contexts may restrict the broader application of findings. Enhanced parental awareness and school-based counseling are recommended to promote music subject as a viable and valuable field.
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Reimagining Arts Education and Practice in the Digital Space
This paper investigates the urgent need to reassess arts education, particularly popular music education, in the digital space. It highlights the importance of pedagogical preparedness among educators while examining the gaps, challenges, and opportunities digital tools present. Integrating these technologies is essential for fostering students' creativity, critical thinking, and digital literacy (Rexhepi et al., 2024). Using a constructivist paradigm and a qualitative research approach, the study analyses existing data to evaluate digital adoption in popular music education. The findings suggest that while digital tools offer significant benefits, their integration is incomplete, with many educators relying on traditional methods. The study acknowledges limitations, mainly focusing on teacher-centred data with less emphasis on student experiences. As education systems worldwide confront rapid technological advancements, traditional frameworks in arts education face significant challenges. This research examines the transformative potential of digital tools in popular music education, emphasising the need for professional development and systemic support to equip educators with the necessary skills. The paper stresses the importance of addressing these challenges to create an environment where digital tools enhance traditional popular music education. Moreover, it considers how digital transformation reshapes the roles of educators and students, offering opportunities for more dynamic and interactive learning experiences. The study also explores the potential of digital tools to democratise access to quality popular music education, breaking down barriers related to geography and economics. Ultimately, this paper advocates for a balanced approach to digital integration, ensuring that innovation complements essential pedagogical principles.
Integrating Critical Thinking into Advanced Musical Analysis in Ghanaian Music Education
This study examines the incorporation of critical thinking into the "Advanced Musical Analysis" course in the context of music education in Ghana. The research used a qualitative method, especially a case study design, to investigate the effective integration of interdisciplinary frameworks and critical thinking abilities into advanced musical analysis. The data were gathered using a combination of document analysis, semi-structured interviews, and classroom observations. This allowed for obtaining perspectives from instructors, students, and external examiners who were participating in the course. The findings demonstrate the potential advantages and difficulties of combining standard academic rigour with inventive, context-specific techniques that incorporate aspects such as phenomenology, semiotics, and cultural theory. Also, the study emphasises the possibility of a curriculum that is flexible and inclusive, incorporating African musical traditions. This would improve students' ability to analyse music and promote a more active and lively involvement with it. The findings underscore the importance for music instructors in Ghana to give high priority to fostering critical thinking skills and incorporating cultural relevance. This would ultimately enhance the academic and cultural aspects of music education in the country.
Dissemination of Marimba Performance Skills through Workshops: The Case of Rimba Resonance Vibes Ensemble
The Zimbabwe Marimba music performance has been disseminated both locally and globally, transcending national barriers since the Kwanongoma marimba was designed in Bulawayo in the 1960s at the United College of Education. There has been a phenomenal rise in marimba performance activities in Europe and America, while there is relative calm in Zimbabwe where the marimba was designed. This study chronicles my role in the dissemination of marimba performance within Zimbabwe with Rimba Resonance Vibes Ensemble from an insider perspective. The lull in local activity is largely due to the country’s socio-economic struggles which have led to marimba instructors, lecturers, tutors, and performers leaving for greener pastures. A yawning gap now exists, and the agency role is critically needed so that there are deliberate efforts to pass marimba performance knowledge and skills to the next generation, and conducting workshops is one way in which applied ethnomusicologists can advocate for the continuity of this culture. This paper is an autoethnographic account of my role in teaching marimba music performance experiences at marimba workshops in Zimbabwe. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s marimba workshops, describe the situation in Zimbabwe marimba music performance practices, and reflect on the nature of practice, skills development, and education. The paper reveals the concerted effort that marimba teachers need to invest to ensure the survival of their art in the future. There is a glaring need for action and dissemination to sustain the art of marimba music performance by bands based in Zimbabwe.
An Assessment of the Relevance of Primary School Choir Directors’ Musical Competencies on Quality Performances
Choir directors are key players in the role of choral music training and performance. The quality of a choral performance is highly dependent on their musical competencies among other factors. This exploratory qualitative case study argues that the development of musicians’ expressive communication of a composer’s intentions to an audience hinges on the directors’ ability to interpret choral music scores. Without proficiencies, no meaningful teaching of the songs is achieved, resulting in substandard performances. Informed by Bower’s theory on choral practice, this study assesses the Shamva primary school trainers’ musical competencies. The relevance of the proficiencies on quality performances is also assessed. Data were gathered from [N=10] ten purposefully sampled choir trainers with a wide range of experiences in choral music participation and school competitions through non-participant observation, document analysis, and face-to-face interviews. Findings reveal that the majority of choir trainers had very limited music theoretical knowledge, which made it difficult to apply to performances. The study established a relationship between the significance of competencies to individual capability levels. The recommendation of intensive regular competency upgrading courses, workshops, and seminars for trainers to improve levels of knowledge, skills, and performance is made. Performance standards and the choral music quality are creative entrepreneurship products.
Copyright (c) 2024 Locardia Sango, Philemon Manatsa https://creativecommons.org/licenses/by-nc-sa/4.0
Exposing Uganda’s Cultural Mosaic: An examination of the Endingidi’s origins, educational and aesthetic dimensions
The field of music analysis has experienced significant growth, encompassing diverse aspects such as corporal movements in instrumental performance, dance studies, and cognition-centric methodologies. This paper provides a historical overview of the endingidi, a traditional tube-fiddle, within a broader context. It examines the materials used in constructing the endingidi as well as the challenges encountered in this process. Additionally, the paper explores the performative expressive elements of the endingidi, including accompanying gestures. Despite the enduring presence of the endingidi as a timeless traditional instrument, there remains a notable gap in comprehensive studies that unravel its intricate cultural significance, an oversight this investigation conscientiously seeks to address. The study identifies challenges in material sourcing for the endingidi due to scarcity and environmental degradation. Proposed interventions include afforestation, alternative materials, government support, and community engagement. Emphasizing sustainable practices and responsible harvesting, it urges government leadership, documentation of techniques, and community support for artisans. Linking to broader music education challenges, it advocates for government resource allocation. Providing a nuanced understanding of the endingidi, it underscores multidimensional approaches to safeguarding it as part of Ugandan cultural heritage, highlighting the importance of sustainability, research, government, and community involvement in preservation efforts.
Experiential Knowledge as a Musical Resource
Historically, music pedagogy has witnessed the implementation of diverse teaching models in different educational settings. Within the academic realm, for example, music theory and instrumental training approaches have been developed to align with standardized curricula, considering the diverse musical histories and cultures across the globe. Even so, there is a growing trend among individuals to explore alternative modes of instruction beyond traditional school environments. These alternative methods encompass online platforms and one-on-one in-person tutoring, among other options. Such modalities have prompted recognition of exponents who provide music tutorage having not acquired formal music training but possess knowledge through lived experience. Their practically inclined teaching approaches and demonstration of musical artistry have sparked interest in people, who subsequently aspire to learn music and play instruments. Their efforts have played a crucial role in fostering the need for music education in the music domain and the entire art industry. In doing so, they establish a prominent presence in music pedagogy, and consequently, in formal educational settings. Considering this, I examine the contributions by such educators within the music industry, particularly in the field of education. Using qualitative case study methods such as interviews, I explored different non-formal pedagogical approaches and interrogated their impact on learners. Insights from these interviews revealed that observation, replication, and innovation are utilized as instructional approaches in non-formal settings, with students studying under peers, master musicians, and family members. Through this, students acquire musical exposure as they develop skills that align with the music industry. Such training ought to be integrated into academic curricula to enhance music scholarship and ensure its relevance locally and within global contexts.
Autoethnographic Memoirs of Rimba Resonance Vibes Ensemble Festival Performances
Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnography I present perspectives on my marimba music performance experiences at local and regional festivals in Zimbabwe and South Africa. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s performances, describe the culture of Zimbabwe marimba music performance practices, and reflect on various permutations of the practice in which the art has been kept alive in Zimbabwe in the wake of a brain drain. The findings show multiple challenges that we face as marimba musicians. There is a glaring need for agency and advocacy to sustain the art of marimba music performance by bands based in Zimbabwe.
Copyright (c) 2024 Wonder Maguraushe https://creativecommons.org/licenses/by-nc-sa/4.0
Contextualizing Traditional Music Studies in an Institution of Higher Learning: A Case Study of the BA Irish Music and Dance at the University of Limerick
The indigenous knowledge system that informs the content of African performance practices derives from the distinctive history, philosophy, creative theory, geographical location, cross-cultural influences, and such of particular African communities. The transfer of these indigenous knowledge systems to students in a classroom situation has been a challenge in African school curriculum. There are music cultures that have been able to appropriate their indigenous music cultures for classroom education at the third level of education. This paper, therefore, is an investigation into one of such institutions that have incorporated its traditional music into the music curriculum and the contextual implications of achieving this feat.
Copyright (c) 2014 O’dyke Nzewi https://creativecommons.org/licenses/by-nc-sa/4.0
The Challenges of Application of African Traditional Dance for Contemporary Educational Relevance
Students pursuing music degree courses in Kenyan public universities undergo dance instructions as part of their cognitive processes in learning traditional African music. The purpose of the dance courses is to enable students to practice, appreciate, preserve through performance and understand dance as a cultural identity in a modern educational context. Dances hitherto performed in specific cultural contexts are reconceptualised and situated into the classroom for instructional purposes thus raising fundamental questions regarding the effect/affect of reinterpretation processes that are inevitable. Through analytical and comparative procedures, this paper seeks to establish how various aspects, content, methodologies and performance practice of traditional African dances commonly taught at Kenyatta university are unearthed, interpreted, re-evaluated and integrated into new academic thinking yet remaining valuable and important source of cultural identity.
Copyright (c) 2014 Wilson Shitandi, Mellitus Nyongesa Wanyama https://creativecommons.org/licenses/by-nc-sa/4.0
A One-Day Training Workshop has the Ability to Motivate Teachers and Bring about Real Change in Teaching Practice: A Case Study
In this article the researcher sought to find out if a single, short continuing professional development music workshop could cause any change in the classroom and what effect it would have on the professional and personal development of the attendees. The article focused on a case study that described the emotional, social, intellectual and spiritual impact that a training workshop for black musically untrained pre-school teachers had on a pre-school teacher from an Informal Settlement in Germiston, East Rand of Johannesburg. Observation at her pre-school site and an in-depth interview revealed the meaning, importance and function the music training had for her. The findings showed that the music training provided this teacher with ways of understanding, developed her music skills and developed her self-esteem. The study highlights how the methodology that was used to expose a pre-school teacher who have never been exposed to Western classical music before changed her attitude towards this specific music style, developed her creativity and motivated her to such an extent that she felt competent and confident to teach Western classical music. The results of the evaluation suggest that a short-duration, well- structured music education workshop based on practical and interactive teaching ideas, presented to teachers with no previous experience of Western classical music can impact their learning positively in the long run. The research found that short induction sessions by experienced presenters, can change teachers’ attitudes towards Western classical music and motivate them in a positive way and also uplift their personal development in the process.
Copyright (c) 2014 Nel Zenda https://creativecommons.org/licenses/by-nc-sa/4.0
School Music Festivals and the Rights of Children: The Case of Uganda
In order to make up for the social effects caused by many years of under-development as a result of dictatorship, ethnic conflict and civil wars, the current government of Uganda decided to promote national unity and national pride through primary school music festivals as part of reforms in the education sector. The government, through the Ministry of Education and Sports (MoES) sponsored music competitions amongst schools whose objective is described by the mutual process of socialization and educating the masses about children rights and the country’s constitution. With a total of 198 participants (n=198), including music teachers (n=60), students (n=80), parents (n=40), and administrators (n=18), this research examines the role of school music festivals in fostering awareness and advocacy for children’s rights. It illustrates how music festivals accord children the opportunity to participate in social change and in developing a new culture nationally by introducing a development discourse nationally. Ethnographic research design was applied, combining both qualitative and quantitative research methods constituting a wide array of observations over a period of time. Interviews and questionnaires were used to ascertain how music festivals create a culture of constitutionalism, raising children rights awareness, and advocacy. In addition to the searched literature, the researcher’s personal experiences as participant observer and his interaction with stake holders offer insight and understanding of how music festivals allow children to use the performance stage as space to evaluate inconsistencies associated with claiming their rights.
Copyright (c) 2014 Benon Kigozi https://creativecommons.org/licenses/by-nc-sa/4.0
A Discourse on the Problems Facing Music Business in Nigeria
Music and the entertainment industry in general are one of the major sources of income and sustainers of the economy in advanced countries of the world. In recent times in Nigeria, music business and the entertainment industry as a whole has witnessed lull in their activities. The industry is fraught with multifarious problems stemming from politics, economic, social, marketing, technology and other environmental constraints. This paper examines the role of music and the entertainment industry as an important but, neglected arm of the Nigerian economy that can rescue it from its present economic predicaments. It discusses the state of art music, commercial and popular music in Nigeria groaning under a depleted economy. It also proffers solutions to the problems highlighted in the paper.
Copyright (c) 2014 Stephen Olusoji https://creativecommons.org/licenses/by-nc-sa/4.0
Human Sciences Education, Research, and the Spirituality Nexus in Africa - The Indigenous Musical Arts1 Epistemology
The paper reflects on the mental dependency syndrome that continues to afflict governance and academic leadership in African countries, and as such authoritatively African epistemology remains virtually invisible at all levels of musical arts education in the continent. Northern hemispheric knowledge paradigms implanted by Colonial education schemes remain emphasized. Consequently, the mentality of African elites remains subtly enslaved under the firm manipulation of the North. As such, political independence with mental dependence is the vogue in African nations. The paper argues that the epistemological validity of indigenous African musical arts could help redeem the cultural knowledge amnesia resulting from continued over-dependence on hegemonic knowledge episteme. African learners and students are compelled to view, study, research and discuss African musical arts with European-American cultural-mental lenses as a result of speculative literature that misrepresent African mental genius. The fundamental spirituality connections of indigenous musical arts epistemology that informs the humanity- buttressed African indigenous philosophical ideals and theoretical formulations are tendered. African musical arts educators are then urged to aspire for the virtue of originality in disciplinary representations; to mobilize selves and government authorities to visibly muster pride of cultural integrity; to factually research, discern, teach and practice their prodigious but misunderstood human-intellectual wisdoms. Research orientation and methodology have always marked African indigenous knowledge inventions, practices and intra- as well as inter-cultural advancement. Pointers briefly offered on attaining Africa-sensed, education orientations that respect the primary authority of indigenous practitioners discuss issues of research that touch on library research, mental attitude, field equipment and theory, and sampled an extra curricular intervention practice. The reward is ability to discern African theoretical and philosophical principles basic for inter- cultural discourse. The conclusion is on the meaning and practice of inter-culturism, which in traditional Africa cherished the humanity ideal of sharing. Contemporary Africans need the spirit and practice of sharing, inculcated by indigenous musical arts principles, to achieve mutual benefits in inter-personal/cultural aspirations in educational and other societal practices.
Copyright (c) 2023 Meki Nzewi https://creativecommons.org/licenses/by-nc-sa/4.0
Acculturation: An Investigation into Afri-Afrikaans or is it Afri-African?
Acculturation is taking place in a subtle way in South African schools where the music of the Afrikaans people is taken by Africans and given an African flavour. This phenomenon can be seen in the work of artists like Bongani Nxumalo with his rendition of the Afrikaans song, Loslappie. The counter is also audible where modern Afrikaans music shows influences of African rhythms. This article addresses the issue of how South African teenagers are influenced by teenagers from other cultures in music and song, using a pragmatic paradigm. The researcher argues that acculturation is a spontaneous process where one is not consciously aware of the influences when living in a multi-cultural environment. More dominant cultures will have a more visible effect on minority cultures. In conclusion, this project by closely examining a sample of South African teenagers from different cultures during music-making sheds new light on the way acculturation takes place amongst teenagers in rural South Africa.
Copyright (c) 2023 Eurika Jansen van Vuuren https://creativecommons.org/licenses/by-nc-sa/4.0