This article examines the musical and social functions of various instru ments found in the context of the Shangana-Tsonga social beer-drink in Mozambique and the Northern Transvaal. In addition to the usual beaten/ blown distinctions (which are primarily etic), important emic distinctions are noted, such as secular/sacred, privately-owned/communally-owned, professionally-playedlnonprofessionally-played, and ensemble-oriented/solo oriented.
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Thomas F. Johnston (1973) studied this question.
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