An Attempt to Link Colonial and Postcolonial Narratives

Chapter Three provides a critical analysis of Andrew Tracey’s Shona chord cadence by identifying similar chord cadences from ILAM’s recordings outside Mashonaland. The study of the circulation of the Shona chord cadence beyond colonial borders is firstly demonstrated by archival research on mbira music and through Andrew Tracey’s concept of the “Mbira country” in southern Africa.