Xhosa music has long been a major part of the music of South Africa, especially in the field of jazz. Since olden times, singing has been a tradition and part of culture among the Xhosas. Traditional Xhosa music is identified using community participation, call and response structures, and overtone singing techniques. These musical elements have played a significant role in shaping modern South African jazz.
Xhosa music is characteristically expressive and communicative which includes rhythmical expression of words and sounds. It also includes physical movement employed when clapping, dancing or playing a musical instrument. Different Xhosa chiefdoms share similar musical concepts.
Xhosa music originates primarily from the Eastern Cape region of South Africa, and are historically referred to as the Transkei. This music is still embedded in social, ceremonial, and spiritual life.
Leader and Chorus
Cyclical/Repetition
Layered Voices
Improvisation
Integration of Movement:
Body Percussion
Music plays a significant role in Xhosa social and ceremonial life. Learning traditional music begins with incentive and desire to fully share in the life of the village as almost every occasion of life including play songs for children, the girls' and boys' umtshotsho song as they grow, the intlombe dance parties, songs and dances of initiation practices, ancestor songs and beer songs. In order to share in the rites and ceremonies, it is necessary to learn the songs. The learning of music happens through observation, attention, developing music memory, practicing and learning rhythms from others.
Initiation ceremonies, specifically male initiation (ulwaluko), are accompanied by Xhosa songs. Songs like Somagwaza are played during these ceremonies, sung by men when boys go to initiation school. Umtshotsho is typically played during weddings and sung by women, as it is well suited for their voices. Youth also participate in gatherings like umtshotsho and intlombe dance events, strengthening social bonds within the community. These events will integrate singing, movement, and group participation.
Music is also closely connected with spiritual practices. Many believe that these songs can help facilitate communication with ancestors. Musicians during marabi and mbaqanga believed in spirituality and connection with the ancestors using ritualistic music. A pianist Bheki Mseleku viewed himself as a channel to reach the ancestors, hoping to provide healing using his music. To fully understand different musical practices, it is important to understand respective cultures.
Xhosa music is distinct in terms of its vocals and use of harmonic overtones. Overtone singing vocally reflect the acoustics of traditional Xhosa bow instruments.
Xhosa overtone singing is based on Xhosa bow instruments such as the 'umrhube' and 'uhadi' which are the two fundamental sounds in Xhosa music. Xhosa traditional musicians imitate the sounds of their musical bows using their voices through the maneuvering of their tongues and shaping of the mouth cavity. They produce overtones by raising the tongue therefore creating a resonance chamber. The characteristic sound of overtone singing is created by tightening the throat muscles to create a low, gutted, rasping sound. This techniques gives particularly women, a deeper voice. Overtone singing is only practiced by women and it is generally the overtone singer who leads the song. Diviners often use overtone singing as they believe that it enables them to speak to the ancestors.
The uhadi and umrhubhe are two indigenous Xhosa bow instruments. With the uhadi, pinching the string and moving the calabash creates different pitches and tones, also allowing for multiple notes to be played at once. The umrhubhe is a stringed mouth bow made from a wooden stick strung with metal or nylon wire. The performer uses the mouth as a resonator. During performances, the umrhubhe player may double the melody of the lead singer by using the bow overtones/harmonics while also whistling with the response singers.
Xhosa traditional music has played a huge role in shaping modern South Africa jazz. a study exploring the narratives of six South African jazz musicians of Xhosa heritage integrated the indigenous rhythms, harmonies, and vocals into contemporary jazz music. The study found that exposure to these Xhosa musical traditions early on contributed to the musicians composition and improvisation in their music.
The six musicians examined include: Nomfundo Xaluva, Andile Yenana, Sisonke Xonti, Siya Makuzeni, Lwanda Gogwana, and McCoy Mrubata. Andila Yenana is a pianist who described how growing up in the Eastern Cape shaped his music, specifically through exposure to traditional rhythmic cycles and harmonic minimalism. The study notes that the repetition in his music reflects features commonly found in traditional Xhosa music. Lwanda Gogwana is a trumpeter who integrates traditional Xhosa layering and overlap into contemporary jazz. His work reflects the influence of the cyclical structures in indigenous instruments and music.
Common themes within the artists emphasized the importance of their auditory learning, their participation in the music, and the incorporation of the music into contemporary performances. The artists wanted to "sound like home," causing them to include distinct cultural identities into their expanding jazz music.
Xhosa traditional music has been historically transmitted orally, rather than written sheet music. Learning the music occurs through listening, observing, and repeating the music within the community. Knowledge is passed from elders to younger generations, through ceremonial participation, social gatherings and events, as well as just daily life.
Musical education in Xhosa societies are embedded within family and community. Exposure to the music beings in childhood, as they participate in youthful dances, initiation songs, and other communal events, such as weddings. The development of their musical skills are tied with experiences, rather than formal education. In contemporary context, many South African jazz musicians describe auditory learning and familial influence being important foundations to their musical development.
In addition to orally transmitting music, Xhosa music has been preserved through archival recordings. Hugh Tracey recorded over 25,000 performances and published over 3,000 of these performances, now being housed at the International Library of African Music in Grahamstown. While these recordings are extensively documented, it is important to note that many members of Xhosa communities are unaware or have limited access to these archives. âÂÂSound elicitation,â is when these recordings are reintroduced into the communities to allow for discussion and cultural engagement. There have been efforts made to reintroduce these recordings into the communities through listening sessions and other engagement initiatives, with the goal of reconnecting these recordings with their audiences and respective culture.
The uhadi, umrhube, and Ikawu and Ingqonggo drums, are commonly used in Xhosa traditional music. Uhadi:
Drums: