ABSTRACT The author examines how hymn tunes composed in South Africa in the second half of the 19th century were localised by the student body at the College of the Transfiguration in Grahamstown. The tunes are all found in the isiXhosa Anglican hymn book, but originally come from three sources, all linked to Christian missionary work in the Eastern Cape (Amaculo ase-Lovedale, Birkett's Ingoma and St Matthew's Tune Book). All the tunes were written to accompany hymns with trochaic metre, which isiXhosa usually displays naturally. The author finds that colonial elements of harmonisation (allied to western functional harmony) are radically diminished by the students, using local techniques such as skipping 3rds and localised westernisms. In other words, the colonial elements of harmonisation are completely reinterpreted by the students so as to produce music which is more uniquely Southern African.

中文翻译：

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南非赞美诗声调的成语：殖民调和系统的减少和赞美诗声调的重新诠释

摘要作者研究了19世纪下半叶南非Grahamstown变身学院的学生团体对南非创作的赞美曲的定位。这些曲调都可以在《圣希萨圣书》中找到，但最初来自三个来源，都与东开普的基督教传教工作有关（Amaculo ase-Lovedale，Birkett的Ingoma和St Matthew的《 Tune Book》）。所有的曲调都被写成与圣歌伴奏，这是iXhosa通常自然显示的。作者发现，使用诸如跳过三分法和局部西方主义等本地技术，学生可以从根本上减少殖民地和谐的元素（与西方功能和谐相关）。换一种说法，