b'Program Notescontinuedarrangements has ever been written down, the players have to commit all the music to aural memory. New recruits to the Ensemble are helped by advanced Ensemble members to learn the songs through aural and visual transmission, a process reminiscent of traditional folk music. A typical kwela session to learn a new song can be an extremely noisy and even argumentative occasion! Though the harmonies are basic, the rhythms can be quite complex, and the students call upon their knowledge of some quite difficult bowing patterns to execute these. Buskaids vocalists are all drawn from within the Ensemble and only one has received formal training as a singer. This simplicity of approach reflects the folk-like nature of this music, and adds a certain unsophisticated charm. The performances always differ, depending very much on who is leading, so there is a strong element of improvisation overlaying each performance. For this concert, two songs have been selected. Firstly, Noyana, a traditional Zulu Christian hymn which roughly translated means We are on the path of the voice of righteousness, home to the people who live in peace. Some of you are different in the eyes of God because of your sins. What do you say? Are you going to heaven?Here are the words in Zulu: Sikuyo indlela, Yelizwi lobomi, Ikhaya Labantu, Behleli ngendweba. Nina ka nehluka, Kuthixo, Ngo kona, Nithini, Nithini noyana, Phezulu.Marks Special is a township jive song which we included in the first streamed concert from our 2017 performance. This is another version from our 2014 concert, with different choreography. The composer, Marks Mankwane, was a guitarist and part of a group of prominent kwela and marabi musicians in the 60s and 70s, who experimented with entirely new and innovative styles of township music. This music was named mbaqanga - a traditional snack made in the rural areas. Although originally a derogatory term, this became the genres main name.~Rosemary Naldenprincetonsymphony.org/ 18'