Xhosa music has been an important part of South African music, especially in jazz. For many years, singing has been a tradition and a key part of Xhosa culture. Traditional Xhosa music uses community participation, call and response patterns, and special singing methods. These musical features have helped shape modern South African jazz.

Xhosa music is known for being expressive and clear in communication. It includes rhythmic patterns in words and sounds, as well as physical movement such as clapping, dancing, or playing instruments. Many Xhosa groups share similar musical ideas.

Xhosa music comes mainly from the Eastern Cape region of South Africa, which was historically called the Transkei. This music is still used in social events, ceremonies, and spiritual practices.

Music structures and rhythm

• Xhosa traditional music often uses a call-and-response format. One person sings a phrase, and a group responds with repeated patterns. Singers usually begin their parts at different times.

• Songs usually follow a repeating structure. They often use simple chord patterns, such as V–IV or I–♭7, and sometimes include a repeating bass line. This simplicity is purposeful and adds depth to the music.

• Multiple voices are often layered together. This shows how important community is in Xhosa music. Overlapping sounds make the music stronger and highlight shared voices.

• Improvisation is common, especially in modern versions of the music. Performers often add new parts to the structure, such as changing how they sing, emphasize words, or use rhythm, while keeping the original form.

Integration of Movement:

• The rhythm in Xhosa music goes together with movement and dance. Songs are designed to support group dancing. Performers use body movements to express the rhythm. The music supports both singing and physical movement, showing how community is central to the tradition.

• Clapping is an important part of creating rhythm. It works with drums and singing to build layers in the music. Rhythmic sounds from the body are carefully planned and included in performances.

Music in Xhosa society

Music is an important part of Xhosa social and ceremonial traditions. Learning traditional music starts with a desire to be part of village life, as almost every event includes music. These events include songs for children, songs called umtshotsho for growing boys and girls, dances like intlombe, songs and dances during initiation ceremonies, songs honoring ancestors, and songs sung during beer gatherings. To take part in these events, people must learn the songs. Music is learned by watching others, paying attention, memorizing melodies, practicing, and learning rhythms from community members.

Initiation ceremonies, especially for boys (called ulwaluko), include Xhosa songs. A song called Somagwaza is played during these ceremonies and sung by men when boys go to initiation school. Umtshotsho songs are often played at weddings and sung by women because their voices are well-suited for these songs. Young people also join gatherings like umtshotsho and intlombe dances, which help strengthen relationships within the community. These events involve singing, movement, and group participation.

Music is also connected to spiritual traditions. Many people believe that songs can help communicate with ancestors. Musicians during marabi and mbaqanga music believed that their songs helped connect people to ancestors through special rituals. A pianist named Bheki Mseleku saw himself as a way to reach ancestors and used his music to help others heal. To understand different musical traditions, it is important to learn about the cultures they come from.

Xhosa sound

Xhosa music is different because of the way it uses voices and special sounds called harmonic overtones. This singing style uses sounds similar to those made by traditional Xhosa bow instruments.

Xhosa overtone singing is inspired by two Xhosa bow instruments, the "umrhube" and "uhadi," which create the main sounds in Xhosa music. Musicians copy the sounds of these bows by using their voices. They shape their mouths and move their tongues to produce overtones. By raising their tongues, they create a space inside the mouth that helps make sounds. To create the unique sound of overtone singing, singers tighten their throat muscles to make a low, rough sound. This technique helps women create a deeper voice. Overtone singing is only done by women, and they usually lead the songs. Diviners sometimes use this singing style because they believe it helps them communicate with ancestors.

The "uhadi" and "umrhube" are traditional Xhosa bow instruments. The "uhadi" uses a string and a calabash (a type of gourd) to make different pitches and tones. Pinching the string and moving the calabash allows the player to make multiple notes at once. The "umrhube" is a stringed mouth bow made from a wooden stick with metal or nylon wire. The performer uses their mouth as a resonator (a space that helps amplify sound). During performances, the "umrhube" player may play the melody of the lead singer using the bow's overtones or harmonics while also whistling with other singers.

Contemporary influence and adaptations

Xhosa traditional music has had an important role in shaping modern South African jazz. A study looked at the experiences of six South African jazz musicians of Xhosa heritage and found that they used indigenous rhythms, harmonies, and vocal styles in their contemporary jazz music. The study showed that learning about Xhosa musical traditions early in life helped these musicians create and improvise their music.

The six musicians studied are: Nomfundo Xaluva, Andile Yenana, Sisonke Xonti, Siya Makuzeni, Lwanda Gogwana, and McCoy Mrubata. Andile Yenana is a pianist who explained how growing up in the Eastern Cape influenced his music, especially through learning traditional rhythmic patterns and simple harmonic structures. The study noted that the repetition in his music matches features often found in traditional Xhosa music. Lwanda Gogwana is a trumpeter who uses traditional Xhosa techniques, such as layering and overlapping sounds, in his jazz performances. His work shows the influence of repeating patterns in traditional Xhosa instruments and music.

Common ideas among the musicians included the importance of learning music through listening, actively participating in music, and including traditional elements in their performances. The musicians aimed to "sound like home," which led them to add unique cultural identities to their jazz music.

Preservation and transmission

Xhosa traditional music has been passed down through speaking and listening, not through written sheet music. People learn the music by hearing it, watching others perform it, and repeating it in their community. Elders teach younger people by sharing their knowledge during ceremonies, social events, and everyday life.

In Xhosa societies, learning music happens within families and communities. Children are introduced to music early in life through dances, songs from initiation rituals, and events like weddings. Their musical skills grow through experiences, not through formal lessons. Today, many South African jazz musicians say that learning by listening and being influenced by family members helped them develop their musical abilities.

In addition to being passed down through speaking and listening, Xhosa music has been saved in recordings. Hugh Tracey recorded more than 25,000 performances and published over 3,000 of them. These recordings are now kept at the International Library of African Music in Grahamstown. Although these recordings are well-documented, many people in Xhosa communities are not aware of them or have limited access. "Sound elicitation" is a process where these recordings are shared again with communities to encourage discussion and cultural connection. Efforts have been made to reintroduce these recordings through listening sessions and other activities, aiming to help communities reconnect with their music and culture.

Musical instruments

The uhadi, umrhubhe, ikawu, and ingqongqo are traditional drums and instruments used in Xhosa music.

Uhadi:
The uhadi is a Xhosa instrument made from a bow with a calabash-shaped resonator. By pinching the string and adjusting the calabash, the player can create different pitches and tones. This allows the instrument to play multiple notes at once. During performances, the uhadi player can play both the melody and harmony while keeping the rhythm of the song.

Umrhubhe:
The umrhubhe is a stringed mouth bow made from a flexible wooden stick with a metal or nylon string. It is played by hand or struck with a small stick. The string produces two pitches, and the performer uses their mouth as a resonator to amplify the sound. During performances, the umrhubhe player can support the lead singer’s melody using overtones and also whistle the melody of the response singers.

Ikawu:
The ikawu is a drum shaped like a shield, made from ox-skin and beaten with a knobkerrie. It is struck forcefully against the ground. This instrument is traditionally used during boys’ initiation ceremonies and is accompanied by a special dance performed by the boys. The beating of the ikawu is also accompanied by battle cries.

Ingqongqo:
The ingqongqo is a simple drum made from stiff dried ox hide and beaten with sticks. It is based on the hunting shield and the drumsticks of the assegai. A cured bull’s skin is tied to posts about three to four feet high. The instrument is played by a group of women using sticks (amaqoqa). Sometimes, the skin is placed on the ground, and the women sit on it while beating it with the sticks. This drum is no longer used by the Xhosa people but was once widely used by women during male circumcision ceremonies and diviners’ ceremonies. It has been replaced by modern materials like cardboard or zinc, which are also beaten with sticks.