Mapanya, M. G.Zulu, T. G.Moloi, Mbuti Thomas2025-01-212025-01-212024-09-06Moloi, M. T. 2024. phungwa Ngezithebe: Exploring Umaskandi in The Fourth Industrial Revolution Threats and Opportunities. Thohoyandou, South Africa.<https://univendspace.univen.ac.za/handle/11602/2791>.https://univendspace.univen.ac.za/handle/11602/2791Ph. D. (African Studies)Department of Indigenous Knowledge System and Heritage StudiesThe phenomenon of umaskandi, which was the adaptation and continuation of a deep-seated Indigenous Isizulu culture of music-making, has become a commodity over several decades and has been monetised. Social advancement has meant that cultural industries, such as umaskandi, could not resist technological advances that have determined its production, dissemination, and reception. The production side of umaskandi has seen the introduction of new technologies that created entirely new ways of serving existing needs. The acceleration of innovations and the velocity of disruption are hard to comprehend or anticipate. However, umaskandi's inception and subsequent development can be traced back to several previous periods of industrialisation. Currently, the world is in the midst of the Fourth Industrial Revolution's perceived state that it will not spare any industry, including umaskandi. While these far-reaching developments have been taking place, scholarship on the critical role of stakeholders, such as the music industry value chain, in bringing umaskandi to the present state has been mute. This study explores umaskandi and The Fourth Industrial Revolution depending on the appropriate phenomenological research approach. Potential threats and opportunities to the survival of umaskandi in the Fourth Industrial Revolution have been identified during this exploration. Interviews, conversations, literature reviews, action research, focus meetings, analysis of diaries and other personal texts were the main modes of data gathering. It is envisaged that this study will generate and arm the music industry with an informed outlook on the state of umaskandi genre, which is more pressing as we move through the Fourth Industrial Revolution. Furthermore, it is anticipated that, through this study, detailed and comparative insight into the survival and the appreciation of opportunities presented by the Fourth Industrial Revolution will promote the genre. Therefore, it is hoped that this study will benefit umaskandi, its practitioners, music education, and the music business.1 online resource (xvi, 244 leaves)enUniversity of VendaUmaskandiUCTDThe Fourth Industrial RevolutionPhenomenological MethodologyArtificial IntelligenceIndigenous Knowledge SystemsOrdinary Language Philosophy781.62963986Music -- History and criticism -- South Africa -- KwaZulu-NatalFolk songs, Zulu -- South Africa -- KwaZulu-NatalFolk music -- South Africa -- KwaZulu-NatalZulu (African peoples) -- MusicMusic -- Instruction and study -- South Africa -- KwaZulu-NatalThesisMoloi MT. Iphungwa Ngezithebe: Exploring Umaskandi in The Fourth Industrial Revolution Threats and Opportunities. []. , 2024 [cited yyyy month dd]. Available from:Moloi, M. T. (2024). <i>Iphungwa Ngezithebe: Exploring Umaskandi in The Fourth Industrial Revolution Threats and Opportunities</i>. (). . Retrieved fromMoloi, Mbuti Thomas. <i>"Iphungwa Ngezithebe: Exploring Umaskandi in The Fourth Industrial Revolution Threats and Opportunities."</i> ., , 2024.TY - Thesis AU - Moloi, Mbuti Thomas AB - The phenomenon of umaskandi, which was the adaptation and continuation of a deep-seated Indigenous Isizulu culture of music-making, has become a commodity over several decades and has been monetised. Social advancement has meant that cultural industries, such as umaskandi, could not resist technological advances that have determined its production, dissemination, and reception. The production side of umaskandi has seen the introduction of new technologies that created entirely new ways of serving existing needs. The acceleration of innovations and the velocity of disruption are hard to comprehend or anticipate. However, umaskandi's inception and subsequent development can be traced back to several previous periods of industrialisation. Currently, the world is in the midst of the Fourth Industrial Revolution's perceived state that it will not spare any industry, including umaskandi. While these far-reaching developments have been taking place, scholarship on the critical role of stakeholders, such as the music industry value chain, in bringing umaskandi to the present state has been mute. This study explores umaskandi and The Fourth Industrial Revolution depending on the appropriate phenomenological research approach. Potential threats and opportunities to the survival of umaskandi in the Fourth Industrial Revolution have been identified during this exploration. Interviews, conversations, literature reviews, action research, focus meetings, analysis of diaries and other personal texts were the main modes of data gathering. It is envisaged that this study will generate and arm the music industry with an informed outlook on the state of umaskandi genre, which is more pressing as we move through the Fourth Industrial Revolution. Furthermore, it is anticipated that, through this study, detailed and comparative insight into the survival and the appreciation of opportunities presented by the Fourth Industrial Revolution will promote the genre. Therefore, it is hoped that this study will benefit umaskandi, its practitioners, music education, and the music business. DA - 2024-09-06 DB - ResearchSpace DP - Univen KW - Umaskandi KW - The Fourth Industrial Revolution KW - Phenomenological Methodology KW - Artificial Intelligence KW - Indigenous Knowledge Systems KW - Ordinary Language Philosophy LK - https://univendspace.univen.ac.za PY - 2024 T1 - Iphungwa Ngezithebe: Exploring Umaskandi in The Fourth Industrial Revolution Threats and Opportunities TI - Iphungwa Ngezithebe: Exploring Umaskandi in The Fourth Industrial Revolution Threats and Opportunities UR - ER -