This collection of studies focuses on the diverse lamellophones and their musical idioms across south-central Africa, particularly in Shona-speaking regions of Zimbabwe and neighboring countries. It delves into the well-documented Zezuru mbira dzavadzimu and the Kwanongoma College’s version of the karimba, while also spotlighting lesser-known instruments like the Tonga kankobela, Lala kankobele, Korekore and Sena-Nyungwe matepe, and the unique Ndau mbira dza-VaNdau. The analyses emphasize the intricate relationships between organology, playing techniques, cognitive aspects, aesthetics, functions, and symbolism of these musical repertoires, highlighting the embodied knowledge transmitted within dynamic player networks. Recent innovations explored include the hybridization of tuning plans into expansive solo instruments, the formation of 'mbira orchestras' through modified traditional ensembles, and the extension of improvisational spaces within the established framework of mbira pieces, despite potential impacts on the identity and religious significance of individual works. Contributions come from fourteen scholars and musicians across Africa, America, and Europe, complemented by extensive online audio, video, and graphic materials. The editor serves as a lecturer and curator at the University of Göttingen, Germany.
