in academe spanning several decades. Such presence is evident in ethnomusicology journals that can be traced back to the 1950s. Ethnomusicologists who study indigenous African music have been criticized for studying the subject from a subjective Western point of view, especially given the dominance of Western musical canon in South Africa. In South Africa, authors such as Mapaya indicate that for many years, African Musicology has been studied from a multi-cultural perspective without music success. Scholars of African Musicology such as Agawu, Mapaya, Nketia and Nzewi emphasize the study of indigenous African music from the perspective, and language of the practitioners (baletši). These scholars argue for the study of African Musicology from an approach that elevates the practitioners, actions, and their interactions. Categories of Mmino wa Setšo Mmino wa Setšo in Limpopo province has a number of categories. Categories of Mmino wa Setšo are distinguished according to the function they serve in the community. Dinaka/Kiba The peak of Pedi (and northern Sotho) musical expression is arguably the kiba genre, which has transcended its rural roots to become a migrant style. In its men's version, it features an ensemble of players, each playing an aluminum end-blown pipe of a different pitch (naka, pl. dinaka) and together producing a descending melody that mimics traditional vocal songs with richly harmonized qualities. Mapaya provides for a provided for a detailed descriptive analysis of Dinaka/Kiba music and dance, from a Northern Sotho perspective. Alternative to Dinaka/Kiba In the women's version, a development of earlier female genres which has recently been included within the definition of kiba, a group of women sings songs (koša ya dikhuru- loosely translated: knee-dance music). This translation has it roots in the traditional kneeling dance that involves salacious shaking movements of the breasts accompanied by chants. These dances are still very common among Tswana, Sotho and Nguni women. This genre comprises sets of traditional songs steered by a lead singer accompanied by a chorus and an ensemble of drums (meropa), previously wooden but now made of oil-drums and milk-urns. These are generally sung at drinking parties and/or during celebrations such as weddings. Mmino wa bana Children occupy a special place in the broader category of Mmino wa Setšo. Research shows that mmino wa bana can be examined for its musicological elements, educational validity, and the general social functions Kinship Kgoshi – a loose collection of kinsmen with related males at its