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1
Bosch, Tanja Estella. „Radio, community, and identity in South Africa a rhizomatic study of Bush Radio in Cape Town /“. Connect to this title online, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1079300111.
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Donne, Raffaella Delle. „Mapping the beat, beating the map : the religious work of Hip Hop, Reggae and Kwaito in South Africa“. Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/8608.
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Bibliography: leaves 80-88.In a post-apartheid, recently democratised South Africa African identity is constantly being negotiated within the media, the political sphere, and a variety of cultural expressions. Firstly, I explore the ways in which the popular musical forms of Hip Hop, Kwaito and Reggae in South Africa are contributing to the forging of a global African identity which challenges Eurocentric conceptions but also inserts an implicit response into recent debates about the limitations of an essentialist, Afrocentric paradigm. Secondly, I argue that the construction of this identity can be located within an interpretative framework that examines how popular music is engaged in a kind of religious work. Historically, musical expressions emerging out of the diaspora as well as from the continent have been media for retaining and reformulating African religion and culture under conditions of extreme social upheaval. Scholars such as Jon Michael Spencer have argued that the religious aspect of black music is informed by the need to be liberated from an oppressed mentality and therefore liberation needs to be regarded as a religious activity, an alternative spirituality which challenges existing socio-political values. Musical expressions such as Hip Hop, Reggae and Kwaito can be understood as creative transpositions of indigenous African religion within the context of a worldview informed by the supernatural power of the spoken word, the production of a sacred sonic space, and the advancement of what Hip Hop scholar Nelson has referred to as a "combative spirituality."
3
Bosch, Tanja. „Radio, community and identity in South Africa: A rhizomatic study of Bush Radio in Cape Town“. Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1079300111.
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Steltzner, Becky L. „The history of the clarinet in South Africa“. Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.
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This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.
5
Holden, Carolyn. „Flamenco in South Africa: outsider in two places“. Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11440.
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Includes abstract.Includes bibliographical references.
This dissertation interrogates the notion of flamenco identity in order to establish a case for the existence of a legitimate flamenco identity outside of Spain, and specifically in South Africa. Verification of the existence of a legitimate flamenco sub-culture in South Africa would add gravitas to the practise of flamenco by South Africans (as well as other outsiders across the globe), helping to shift the unspoken parameters governing who has the right to teach and perform flamenco, and which criteria might be used to decide this.
6
Beer, Luzaan. „Music education in the foundation phase“. Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.
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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
7
Fourie, Lise. „Music Therapy in Tshwane, South Africa : music therapists’ experiences and other professionals’ perceptions“. Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36759.
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In South Africa music therapy as a profession is still in its infancy and not yet firmly
established, hence music therapists have struggled in the past to secure full-time
employment. It is important to ascertain the current state of music therapy in Tshwane as this
will offer suggestions about what needs to be addressed in the future. In this project two research questions were explored:
1. What are the experiences of music therapists, as well as the perceptions of other
professionals working in the health and education sectors in Tshwane, regarding
music therapy as a profession?
2. What do these experiences and perceptions suggest about the current state of the
music therapy profession in Tshwane?
This research project used questionnaires to generate data pertaining to the experiences of
music therapists and perceptions of allied professionals about the music therapy profession
in Tshwane. The experiences of music therapists currently practising in Tshwane shed light
on the present situation of music therapy in Tshwane. The allied professionals’ perceptions
of music therapy had implications regarding the recognition of the profession which impacts
directly on the availability of jobs, funding and resources available to music therapists.
Questionnaires generated both quantitative and qualitative data through the use of closed
questions that were analysed using descriptive statistics that were generalised and openended
questions analysed through the process of coding and categorising for emerging
themes that were discussed. Results obtained from the questionnaires indicated that not
enough is being done to promote the field as music therapist respondents (n=4) do not
create or set up new music therapy employment. This accounts for the fact that at present
other professionals working in the health and education sectors (n=27) have a varied
understanding of what music therapy comprises. Because of this varied understanding music
therapy is not always valued by these professionals. Collaboration with allied professionals
was an important theme which recurred throughout the data and seems to have been the
most successful way of furthering the profession so far in Tshwane. By promoting music
therapy, especially through collaboration with others, awareness of music therapy should be
enhanced, others’ knowledge and understanding of music therapy may be expanded and
music therapy may ultimately find its valued place among other therapeutic interventions.Mini Dissertation (MMus)--University of Pretoria, 2009.
gm2014
Music
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De, Jongh Martha Susanna. „A national electronic database of special music collections in South Africa“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2370.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.In the absence of a state-sponsored South African archive that focuses on collecting, ordering, cataloguing and preserving special music collections for research, the Documentation Centre for Music (DOMUS) was established in 2005 as a research project at the University of Stellenbosch. Music research in South Africa is often impeded by inaccessibility of materials, staff shortages at archives and libraries, financial constraints and time-consuming ordering and cataloguing processes. Additionally there is, locally, restricted knowledge of the existence, location and status of relevant primary sources. Accessibility clearly depends on knowing of the existence of materials, as well as the extent to which collections have been ordered and catalogued. An overview of repositories such as the Nasionale Afrikaanse Letterkundige Museum and Navorsingsentrum (NALN), the now defunct National Documentation Centre for Music and the International Library of African Music (ILAM) paints a troubling picture of archival neglect and disintegration. Apart from ILAM, which has a very specific collecting and research focus, this trend was one that ostensibly started in the 1980s and is still continuing. It could be ascribed to a lack of planning and forward thinking under the previous political dispensation, aggravated by policies of transformation and restructuring in the current one. Existing sources supporting research on primary materials are dated and not discipline-specific. Thus this study aims to address issues of inaccessibility of primary music materials by creating a comprehensive and ongoing national electronic database of special music collections in South Africa. It is hoped that this will help to alert researchers to the existence and status of special music collections housed at various levels of South African academic and civil society.
9
Nkabinde, Thulasizwe. „Indigenous features inherent in African popular music of South Africa“. Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.
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A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997.The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
10
Muller, Stephanus Jacobus van Zyl. „Sounding margins : musical representations of white South Africa“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326962.
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Theron, Talita. „Music therapy in South Africa music therapists' perceptions of training needs for current practice /“. Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.
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Grove, Stefan Henry. „Suid-Afrikaanse musiek vir tjello en orkes“. Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17370.
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Thesis (M.Mus.)-- University of Stellenbosch, 2006.ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004). The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer. Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece. Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music. The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static. Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias).
AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004). Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering. Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie. Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie. Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties. Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).
13
Stolp, Mareli. „Contemporary performance practice of art music in South Africa : a practice-based research enquiry“. Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
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Thesis (PhD)--Stellenbosch University, 2012.Sensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
14
Lambrechts, Lizabe. „Ethnography and the archive : power and politics in five South African music archives“. Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71685.
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Thesis (PhD)--Stellenbosch University, 2012.ENGLISH ABSTRACT: This study addresses issues concerning power and politics in five music archives in South Africa. It has a three-fold approach. First, it provides an overview of archival theory as it has developed since the French Revolution in 1789. It follows the trajectory of changing archival principles such as appraisal and provenance and provides an oversight into the changing understanding of ‘the archive’ as an impartial custodian of the Truth, to its conceptualisation in the Humanities as a concept deeply rooted in discourses around power, justice and knowledge production. Interrogating the unfolding concept of the archive throws into relief its current envisioned function within a post-Apartheid South Africa. Secondly, this dissertation explores five music archives in South Africa to investigate the level to which archival theory is engaged with and practiced in music archives. The archives in question are the International Library of African Music (ILAM), the South African Broadcasting Corporation (SABC) Radio and Sound Archive, the Gallo Record Archive, the Hidden Years Music Archive (HYMA) and the Documentation Centre for Music (DOMUS). This interrogation serves to illustrate how music archives take part in or subvert the power mechanisms inherent in archival practice. As such, this dissertation is situated within a body of scholarship that seeks to subvert the still prevailing consideration of the music archive as a neutral repository. Third, it investigates how a critical reading of music archives within a consideration of archival theory can add to our understanding of the practical realities of archives that firmly ground them as objects of power.
AFRIKAANSE OPSOMMING: Hierdie studie spreek vraagstukke aan rakende mag en politiek in vyf Suid-Afrikaanse musiekargiewe. Die studie volg ‘n drie-ledige benadering. Eerstens gee dit ‘n oorsig van argivale teorie soos wat dit ontwikkel het vanaf die Franse Revolusie in 1789. Dit volg die trajek van veranderende argivale grondslae soos waardebepaling en oorspronklike herkoms en gee ‘n oorsig van die veranderende begrip van ‘die argief’ as ‘n neutrale kurator van die Waarheid, tot by die konsepsualisering van die argief in die Geesteswetenskappe as ‘n konsep wat gegrond is in diskoerse van mag, geregtigheid en die produksie van kennis. Die ondersoek na die ontluikende konsep van die argief bring breër kwessies rondom die voorgestelde funksie daarvan in ‘n post-Apartheid Suid-Afrika na vore. Tweedens verken hierdie studie vyf musiekargiewe in Suid-Afrika om ondersoek in te stel na die vlak waartoe daar in gesprek getree word met argivale teorie asook die mate waartoe hierdie teorie toegepas word in musiekargiewe. Die betrokke argiewe is die International Library of African Music (ILAM), die Suid-Afrikaanse Uitsaai Korporasie (SAUK) Radio en Klank Argief, die Gallo Record Argief, die Hidden Years Music Argief (HYMA) en die Dokumentasie Sentrum vir Musiek (DOMUS). Hierdie ondersoek illustreer hoe musiekargiewe in strukture van mag, inherent aan argiefpraktyk, deelneem of dit omverwerp. Dus staan die studie binne ’n vakkundige raamwerk wat daarna streef om die steeds heersende beskouing van die argief as ’n neutrale bewaarplek te ondermyn. Derdens ondersoek die studie maniere hoe ’n kritiese beskouing van musiekargiewe binne ’n raamwerk van argivale teorie kan bydra tot die verstaan van die praktiese realiteite van argiewe op ’n manier wat argiewe stewig begrond as objekte van mag.
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Marais, Terence Wilmot Eugene. „A strange counterpoint : classical music performance and identities in Grahamstown, South Africa“. Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1007491.
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This study investigates the perceptions of South African practitioners of Western European Art Music (WEAM), specifically as they relate to the value of WEAM in contemporary South African society. In exploring some of the connections between musical identity and national identity, it sets out to discover what value WEAM holds for a certain group of student pianists. Qualitative empirical data was collected in the form of in-depth, semi-structured interviews and questionnaire responses, and the findings point to numerous, nuanced expressions of self and varied intersections of the nation with musical identity in the life of the individual. Further, WEAM appears to represent a crucial point of identification for these individuals, in each case generating positive affirmations of the self.
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Van, der Linde Annien. „The rise and development of electric bowed instrument groups in South Africa“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80216.
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Thesis (MMus)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups in South Africa. The objective was to provide a history of the development of such groups in South Africa, as well as to compare the methods and musical products of these groups. Another aim was to explore the effects of the groups on the South African music industry and music education. An initial literature research on the history of electric bowed instruments and the phenomenon of classical crossover music as a genre provided the contextual information needed to understand the building blocks of this relatively young compartment of the music industry. Characteristics and marketing strategies of this genre are discussed as well as the impact of aesthetics and gender on classical crossover artists. A set of questionnaires was distributed amongst members of these groups, classical professional musicians in professional South African orchestras, members of electric bowed instrument groups in South Africa, tertiary music students and students at a music school, as well as audience members at an electric bowed instrument group concert. The questionnaires were taken to the Centre for Statistical Consultation at the Stellenbosch University Statistics Department and the processed results were applied to this study. The influence of such groups on South African music education as well as the South African music industry is then examined. The combination of electric bowed instrument and classical crossover music gave birth to the phenomenon of electric bowed instrument groups. In this thesis the “originality” of such artists was evaluated, as a distinct pattern or formula for forming and operating such groups has materialised. The South African electric bowed instrument groups attempt to incorporate a uniquely South African quality into their performances with varying levels of success. Members of such groups, as well as professional classical musicians in the country, believe that the existence and performances of these groups have had an impact on South African music education; however, this theory is proven incorrect in this thesis. Furthermore, it was found that electric bowed instrument groups could have a negative impact on classical music in South Africa, as their marketing directed at the public may unintentionally steer audiences away from classical music performances. The electric bowed instrument groups industry has shown enough growth to prove its sustainability in South Africa as well as internationally. It is a valuable additional occupation for bowed instrument players in South Africa, although it might have a detrimental impact on the South African classical music industry.
AFRIKAANSE OPSOMMING: In hierdie tesis word die ontstaan en ontwikkeling van elektriese strykinstrument groepe in Suid Afrika ondersoek. Die doel van die studie is om ʼn geskiedenis van sulke groepe te lewer, sowel as om die bestuur metodes en musiek van sulke groepe te vergelyk. Verder word die effekte van hierdie groepe in Suid Afrika op musiekopvoeding en die Suid Afrikaanse klassieke musiek bedryf ondersoek. ʼn Literatuur ondersoek van die geskiedenis van elektriese strykinstrumente en die fenomeen van klassieke “crossover” musiek as ʼn genre, het nodige agtergrond informasie ten opsigte van die boublokke van so ʼn relatiewe jong afdeling in die musiekbedryf verskaf. Kenmerke en bemarkingstrategieë van hierdie genre is bespreek, sowel as die klem van estetika en geslag op klassieke “crossover” musikante. ʼn Stel vraelyste is uitgedeel onder professionele klassieke musikante in Suid Afrika, lede van Suid-Afrikaanse elektriese strykinstrument groepe, tersiêre musiekstudente, studente by ʼn musiekskool sowel as ʼn gehoor by ʼn elektriese strykinstrument groep uitvoering. Die vraelyste was geneem na die Sentrum vir Statistieke Konsultasie aan die Universiteit van Stellenbosch, en die verwerkte resultate was toegepas op die studie. Die invloed van hierdie groepe op Suid Afrikaanse musiekopvoeding, sowel as die Suid Afrikaanse musiekbedryf word in hierdie studie bespreek. Die kombinasie van elektriese strykinstrumente en klassieke “crossover” musiek het gelei tot die ontstaan van elektriese strykinstrument groepe. In hierdie tesis word die uniekheid van sulke groepe bevraagteken, oordat ʼn patroon of formule vir die formasie en bestuur van sulke groepe te voorskyn gekom het. Die Suid Afrikaanse elektriese strykinstrument groepe wend ʼn poging aan om ʼn unieke Suid Afrikaanse persona aan hulle optredes te gee, met wisselende vlakke van sukses. Lede van hierdie groepe, sowel as professionele klassieke musikante in Suid Afrika glo dat die bestaan van elektriese strykinstrument groepe en hul uitvoerings ʼn invloed het op die Suid Afrikaanse musiekopvoedkunde. In die studie is hierdie hipotese egter onwaar bevind. Verder, is dit bevind dat elektriese strykinstrument groepe ʼn moontlike negatiewe effek op die Suid Afrikaanse klassieke musiek bedryf kan hê, aangesien hulle bemarking tot die publiek mag onopsetlik gehore weg stuur vanaf klassieke musiek uitvoerings. Die elektriese strykinstrument groep industrie toon genoeg ontwikkeling en groei in Suid Afrika en op internasionale vlak om hul toekoms in die musiekindustrie te bevestig. Sulke groepe is waardevolle addisionele werksgeleenthede vir strykers in Suid Afrika, alhoewel die fenomeen moontlike negatiewe impak op die Suid Afrikaanse klassieke musiekindustrie mag hê.
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Montocchio, Edouard Francis. „The nature of music education at the South African College of Music : an interpretative enquiry“. Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.
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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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Drewett, Michael. „An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s“. Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.
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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
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Venter, Carina. „The influence of early Apartheid intellectualisation on twentieth-century Afrikaans music historiography“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2839.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly premised on the assumption of complicity as an interpretive frame in which the relationship between Apartheid intellectualisation and Afrikaans music historiography can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four chapters, I attempt to construct metaphors, points of intersection or articulation between Apartheid intellectualisation and Afrikaans music historiography. Music is never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie Eloff musical metaphors become ways of enunciating racial theories, for the Dutch musicologist Jan Bouws music provides entry into South Africa and its discourses, for J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa Nepgen music constitutes the perfect domain for and the gestating impulse of her own often ornate national devotions. Some of the themes addressed in this thesis include the language and metaphors of Apartheid intellectualisation, discourses of paranoia, struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the cultural language of Afrikaner nationalism and the reciprocity between cultural fecundity and dominance of the land. The final denouement comprises a positing of the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of its fate and future.
AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer. Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge. Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid, kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van die volk se lot en toekoms.
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Prince, Lloyd T. „Composition portfolio“. Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002318.
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Buitendag, Kingsley Alexander. „A short composition portfolio“. Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002297.
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Van, der Merwe Steven. „Compositions portfolio“. Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1012116.
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Sparrow, Marion Janet. „Aspects of musical education in Grahamstown, 1832-1950“. Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1004616.
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From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
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Greer, Jonathan David Boyd Jean Ann. „Paul Simon's Graceland and its social and political statements on apartheid in South Africa“. Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4854.
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Britz, Engela. „Songs in the dust: Riel Music in the Northern and Western Cape, South Africa“. Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/31151.
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The centuries-old southern African dance form called rieldans (reel dance), or simply riel (reel), is believed to have emerged from Khoe-San dances. It is characterised by its distinctive footwork, animal mimicry, and courtship displays. In the post-apartheid, postcolonial South African context, the riel has emerged as symbol of indigeneity through largescale public performance of Khoe-San heritage. Despite colonial influences, it represents an historical link to the Khoe-San people for its performers who are, for the most part, persons of mixed descent who were classified as 'coloured’ under colonialism and apartheid. Due to a recent riel revival, which emerged from the alignment of Khoe-San and Afrikaans identity negotiations following democracy, the riel has attracted a fair amount of informal attention both locally and internationally over the last decade. However, it remains largely unexplored in performance scholarship. This study investigates riel music of the Northern and Western Cape Provinces of South Africa. The research is qualitative in nature with data collection through participant-observation, semi-structured interviews (including feedback interviews), archival and literature-based research, and organology. A brief history of the riel is presented through a synthesis of documentary evidence and oral history gleaned from fieldwork. This includes an investigation into the history of the ramkie - an instrument that is strongly associated with the riel. By drawing on emic interpretations of riel music in conjunction with Muller’s and Impey’s ideas about 'music as archive’, this study explores how riel music is an oral/aural archive of indigenous knowledge, memory and experience. Findings indicate that contemporary practice links the riel to pre-colonial Khoe-San practices from which it may have derived. An examination of the ramkie’s history reveals that it emerged from material and cultural exchanges in the Indian Ocean that link southern Africa to a vast trade network in pre-colonial and colonial times. Moreover, the instrument provides a glimpse into gender issues that influence riel music making. Like the dance that it accompanies, riel music exhibits characteristics that are indicative of its Khoe-San influence. An analysis of the liedjies (songs) shows that they deal mostly with themes of romance, place, and death and suffering, and that the music is a powerful platform for the expression of interpersonal concerns that provide a glimpse into the lived experiences of working-class coloured communities in the rural Cape.
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Bruce, Emily. „The business of live music in South Africa and the jazz musician“. Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/6846.
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The goal of this dissertation is to investigate how the business of music operates in the live music industry of South Africa in relation to the jazz musician;; also what systems are in place that assist, protect the rights of, and provide for, the jazz musician (bearing in mind that most jazz musicians double as session musicians and dabble in various genres). Research will be conducted into what is working well within the live music industry in the UK, particularly in cities that have a rich population of active jazz performance venues and therefore, also jazz musicians. The intention for this research is to seek out the need for changes to be initiated in the South African music business with special focus on the jazz arena and particularly, conduct and legislation in the live music industry by drawing comparisons with the UK. The author's intentions are that possible alternatives will emerge during the course of this research that could increase the productivity and growth of the industry in terms of policies and systems, distribution of knowledge and access to information, successful unionisation and music business education. This study will include a component that will outline suggested key elements of the business side of music in relation to recognising the value of professional business skills for students studying jazz at tertiary level and for all professional musicians in the live music sector.
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Haldane, Jayne. „Nelson Mandela Metropolitan University students' perceptions of celebrity endorsement and product placement within music videos“. Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020294.
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It has become conventional to use product placement in music videos. Big brands have started marketing themselves through product placement, for example, brands such as BMW, VitaminWater and Virgin Mobile. Placing products in music videos could be perceived as the brands linking themselves with celebrities. This product placement could either have a positive or negative effect on the celebrity and/or the brand. This research study aimed to provide the world of brands with insights into 18-28-year-olds’ perception of product placement in music videos, and whether placing their product in a music video where the audience is not partial to the celebrity, could be detrimental or not. This research study aimed to determine the selected sample’s (Nelson Mandela Metropolitan University students) perceptions of the product placement of three specific brands (VitaminWater, BMW and Virgin) in three specific music videos, namely: Jessie J and David Guetta “Laserlight” http://www.youtube.com/watch?v=syxd2n8S4AE JLo’s “Get on the Floor” http://www.youtube.com/watch?v=t4H_Zoh7G5A Lady Gaga and Beyoncé “Telephone” http://www.youtube.com/watch?v=GQ95z6ywcBY An electronic survey questionnaire was concluded with both closed and open-ended questions relating to the use of product placement in these three music videos. The survey questionnaire helped to determine what the selected sample’s perceptions were of each brand and celebrity, what they were after the respondents and seen the relationship between the brand and celebrity and finally, of product placement in general. A semiotic analysis of screen shots from each music video was conducted to determine what kind of nature the product placement occurred in in each music video.
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Mangiagalli, Carla. „African music in the FET curriculum : an investigation into teaching strategies and the development of a technological resource“. Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/16614.
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Thesis (MPhil)--University of Stellenbosch, 2005.ENGLISH ABSTRACT: The South African Department of Education (DoE) recently introduced a new curriculum for schools. This curriculum, namely Curriculum 2005 (C2005), and later revised as the National Curriculum Statement (NCS), is functional at a national level in South Africa and claims to be a more equitable curriculum than its predecessor by incorporating a philosophy that accommodates all South African learners from diverse cultural and ethnic backgrounds. C2005 (NCS) promotes the principles of outcomes-based education (OBE) and shows a high regard for the Constructivist Learning Theory. In 2006 teachers will be expected to implement the Further Education and Training (FET) Band of the NCS. This study critically investigates C2005 (NCS) with the view to an improved understanding of multicultural education. The focus then turns towards music education by reviewing suggested teaching practices for multicultural music education. Following this is a thorough exploration of several approaches for the teaching of music from diverse cultures with an examination of the various appropriate models for music teaching. However, certain issues arise within the South African context as to whether music teachers have had the necessary preparation for the effective implementation of the prescribed music syllabus of the FET band. The prescribed music syllabus of the FET band includes a variety of musical genres and styles. This analysis culminates in a reflection on African music, which includes an investigation of how African music functions within traditional African societies and an approach for the effective transmission of African music in schools is proposed. Also, arising from numerous reviews concerning the teaching of African music, are opposing convictions that afford the reader an opportunity for creative thought. The lack of adequate didactical resources for the teaching of African music has resulted in a keen interest by the author in employing technology for instructional purposes. This study concludes by exploring recommendations concerning the design of an effective instructional programme that relies on technology and discusses the development of an appropriate technological resource for the teaching of African music.
AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse Onderwys Departement het onlangs ‘n nuwe kurrikulum aan skole bekendgestel. Hierdie kurrikulum, naamlik Kurrikulum 2005 (K2005), en later die Nasionale Kurrikulum Verklaring (NKV), is van toepassing op nasionale vlak in Suid-Afrika en maak daarop aanspraak om ‘n meer regverdige kurrikulum as sy voorganger te wees deur ‘n filosofie te bevat wat alle Suid-Afrikaanse leerders uit verskillende kulturele en etniese agtergronde akkommodeer. K2005 (NKV) bevorder die beginsels van Uitkoms Gebaseerde Onderwys (UGO) en vertoon ‘n hoë affiniteit vir die Konstruktiewe Leerteorie. Dit sal van onderwysers verwag word om in 2006 die Verdere Onderwys- en Onderrigband van die NKV te implementeer. Hierdie tesis ondersoek K2005 (NKV) krities met die oog op ‘n verbeterde begrip vir multikulturele onderwys. Die fokus skuif dan na musiekopvoeding met ‘n oorsig oor voorgestelde onderwyspraktyke vir multikulturele musiekopvoeding. ‘n Deeglike bespreking van verskeie benaderings vir die onderrig van musiek van verskeie kulture volg dan, asook ‘n ondersoek oor verskillende toepaslike modelle vir musiekonderrig. Sekere kwessies ontstaan egter binne die Suid- Afrikaanse konteks waarby daar gevra word of musiekonderwysers oor die nodige voorbereiding vir die effektiewe implementering van die voorgeskrewe musiekkurrikulum van die VOO-band beskik. Die voorgeskrewe musiekkurrikulum van die VOO-band sluit ‘n verskeidenheid musiekgenres en -style in. Hierdie analise word gevolg deur nadenke oor Afrika musiek, wat ’n ondersoek insluit na die wyse waarop Afrika-musiek binne die tradisionele Afrika-gemeenskap funksioneer. Voorstelle vir die benadering van Afrika-musiek in skole word gemaak sodat die effektiewe oordrag van Afrikamusiek verseker sal word. In hierdie bespreking word teenstrydige opinies wat na vore kom in die talle oorsigte oor die onderrig van Afrika-musiek, voorgehou. Dit bied die leser ‘n geleentheid tot kreatiewe denke. Die gebrek aan geskikte didaktiese bronne vir die onderrig van Afrika-musiek het gelei tot ‘n groot belangstelling by die navorser oor die gebruik van tegnologie vir onderrigdoeleindes. Hierdie studie sluit af met ‘n ondersoek na die ontwerp van ‘n effektiewe onderrigprogram wat op tegnologie gebaseer is, en met ‘n bespreking van die ontwikkeling van ‘n geskikte tegnologiese bron vir die onderrig van Afrika-musiek.
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Van, Heerden Estelle Marié. „Influences of music education on the forming process of musical identities in South Africa“. Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08252008-144731/.
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Du, Toit-Pearce Minette. „Eisteddfod in Suid-Afrika met spesifieke verwysing na die Paarl Vallei Eisteddfod“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2945.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.
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Daniels, Delia Josianne. „Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of Stellenbosch“. Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49730.
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Thesis (MMus) -- Stellenbosch University, 2002.ENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171.
AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.
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De, Beer Lukas. „Coaching for creatives : exploring how coaching supports both personally and professionally within the South African music industry“. Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97421.
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Thesis (MPhil)--Stellenbosch University, 2015.ENGLISH ABSTRACT: Creative people and the products they create play a fundamental role in the music industry. They form the core around which the rest of the industry revolves. Without musical and lyrical compositions and talented people able to perform them, there would be no music industry. Pressure mounts on creative people to keep on creating and producing music that will satisfy both industry and consumer demand. This leads to various personal and professional issues the creative person is faced with when pursuing a career in the music industry. This study explored how coaching supports creative people with their personal and professional issues, within the South African music industry. The research design was an exploratory, qualitative study. A purposive sampling technique (Babbie & Mouton, 2009) was used to select the six research participants. The research participants selected were at various stages of entering the music industry professionally. Multiple data collection methods were utilised for this qualitative study, namely solicited essays, researcher reflections and semi-structured interviews. The findings presented in this study showed how coaching can be effective in helping creative people deal with their personal and career issues.
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Tobias, Michael Charles Peter. „An investigation of community music in the Northern Areas of Port Elizabeth :a case study of five community bands“. Thesis, Nelson Mandela Metropolitan University, 2013. http://hdl.handle.net/10948/d1020949.
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The Northern Areas of Port Elizabeth are mostly comprised of the so called “Coloured” community and is vibrant in tradition and musical activities. Community music in the form of marching bands, brigade bands, wind bands and brass bands form a central part of the music activities in this area. The non-availability of music education in schools combined with the multitude of social challenges creates a cultural and moral vacuum. Children are not exposed to the finer arts and music in particular and without these bands and groups probably never will. This study will explore five community bands/groups and the role they play in the lives of people and especially the children and the youth. The impact and influence music has on the social upliftment of under-privileged children in this area has never been studied. The study shows the big impact these bands/groups have on the children and the communities they serve and highlights the dedication and good work of those band managers working with these groups. The study concludes with a proposal that an art/music centre be established in the Northern Areas of Port Elizabeth.
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Malan, Sandra Ruth. „Celebrating cultural diversity : implementing an integrated approach to arts and culture in the intermediate phase of curriculum 2005“. Thesis, Stellenbosch : University of Stellenbosch, 2004. http://hdl.handle.net/10019.1/16384.
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Thesis (M.Mus)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled to implement the new curriculum. Initial problems with terminology and availability of learning materials have been addressed, but still the resistance to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues. Some of the reasons for the resistance point to feelings of disempowerment experienced by generalist and specialist educators who now have to teach the new Learning Area Arts and Culture. This has been attributed to, amongst others, a lack of training, resulting in feelings of inadequacy, inappropriate training for large multicultural classes and the lack of teaching resources. Another reason for the resistance has been described as a resistance to change. Many educators have found it difficult to make the paradigm shift from the previous educational system to OBE and C2005. The aim of the study is to research and explore ways of empowering educators to teach Arts and Culture. The new educational system is geared to redressing the imbalances of the past and giving more expression to the diversity of cultures represented in South African schools. Whereas the previous system was founded on exclusively Eurocentric ideology, principles and values, the new system aims at a more inclusive Afrocentric approach. However, criticisms leveled at C2005 have suggested that it is still basically Western in terms of values, terminology and methodology. This study is therefore aimed at investigating a culturally diverse music/arts curriculum, which draws on the wealth of resources, methods and modes readily accessible in South Africa. A comprehensive literature review guides the study towards a greater understanding of how cultural identities are formed out of a need to belong and how important recognition is to individuals and groups, particularly in terms of their diverse cultural expressions. Music and the arts are understood as being vitally important channels for expression of this diversity. Yet, true to the Afrocentric principle of holism, unity is found in diversity. As much common ground exists between an integrated approach and an Afrocentric approach to music/arts education, these principles are explored to determine whether they can be adapted for use in contemporary South African classrooms. An integrated project mode, which provides a balance between the specific knowledge contexts of the various Learning Areas and collaborative learning aimed at developing the natural links between learning areas to create a vibrant whole, is suggested. The researcher conducted an integrated project at her school with the common theme of "District Six" linking four Learning Areas and their components. Participatory action research using qualitative methods such as questionnaires were used to determine the feasibility of an integrated project mode of learning as a means of empowering educators to teach Arts and Culture. Subsequently recommendations were made regarding implementation.
AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het nie verminder nie. Van die redes hiervoor verwys na gevoelens van ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe leergebied van Kuns en Kultuur moes aanbied. Die weerstand word toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005 (K2005). Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes, terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne, metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en deel te wees, hoe belangrik erkenning van individue en groepe is, veral om hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel van holisme kan eenheid binne diversiteit gevind word. Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die implementering van die nuwe Kurrikulum.
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Van, Rhyn Chris. „Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers“. Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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Van, Rensburg Adriana Janse. „Songwriting in adolescence : an ethnographic study in the Western Cape“. Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.
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Thesis (D. Phil.)--University of Stellenbosch, 2004.ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made.
AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.
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Coppenhall, Gavin. „The effects of urbanization on the seance music, seance techniques and professional practices of some diviners residing and working in "black" townships on the periphery of Cape Town“. Master's thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/26267.
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Hendrikse, Salóme. „'n Interdissiplinêre benadering tot die klasmusiekonderwys in Suid-Afrika“. Thesis, Rhodes University, 1993. http://hdl.handle.net/10962/d1002305.
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In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
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Coetzee, Paulette June. „Performing whiteness; representing otherness : Hugh Tracey and African music“. Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1016502.
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This thesis provides a critical study of texts associated with Hugh Tracey (1903–1977). Tracey is well-known for his work in African music studies, particularly for his major contribution to the recorded archive of musical sound in sub-Saharan Africa and his founding of the International Library of African Music (ILAM) in 1954. My reading of him is informed by a postcolonial perspective, whiteness studies and African scholarship on ways in which constructions of African identity and tradition have been shaped by the colonial archive. In my view, Tracey was part of a mid-twentieth century movement which sought to marshal positive representations of traditional African culture in the interest of maintaining and strengthening colonial rule. While his recording project may have fostered inclusion through creating spaces for indigenous musicians to be heard, it also functioned to promote racist exclusion in the manner of its production, distribution and claims to expertise. Moreover, his initial strategy for ILAM’s sustainability targeted colonial government and industry as primary clients, with the promise that promoting traditional music as a means of entertainment and self-expression for black subjects and workers would ease administration and reduce conflict. I believe that it is important to acknowledge and interrogate the problematic racial attitudes and practices associated with the history of Tracey’s archive – not to undermine its significance in any way but to allow it to be better understood and used more productively in the future.
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Leqela, Moeletse Armstrong. „An exploratory study of music education in the FET bands (Grades 10-12) in selected secondary schools“. Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1017226.
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South African education has been heavily influenced by British rule since 1806 and “the legacy of apartheid continues to be felt in the education system of South Africa” (Herbst, 2005:4). This legacy stems largely from the introduction of English as a language of transmission to the legislation and regulations, such as the Bantu Education Act (1953), the Correspondence College Act (1965) and the Technical College Act (1981, amended in 1989 regulating technical colleges) (DoE, 2003:1-2; Herbst, 2005:4). The African National Congress (ANC), which became the new government in 1994, felt that the syllabus prior to 1994 was overly prescriptive and fragmented. The system had already been declared, in a review in 1980, as inferior, biased towards Western European ideals, and that the content and the examinations “did not provide an appropriate school leaving certificate for the majority of learners” (Department of Education (c), 2003:1-2). The current government felt the need for the system to be phased out and for the phasing in of a system of outcomes-based education which was to be put into operation from 1997 and finalized in 2008 (Department of Education (c), 2003:1; Hauptfleisch, 1993:1; Herbst, 2005:4). The National Curriculum Statement Grades 10-12 was aimed at replacing Report 550, A Résumé of Instructional Programmes in Schools (hereafter referred to as Report 550), as the document that stipulated policy on curriculum and qualifications in Grades 10-12 (Department of Education (c), 2003:viii). The 1997 National Curriculum statement was revised in 2002 and was thereafter referred to as the Revised National Curriculum Statement (RNCS) (Herbst, 2005:4). By the early 2000‟s the need for a revision of the South African education system had gained momentum. The criticism was fuelled by children‟s inability to read, write and count, their lack of general knowledge, and the shift away from explicit teaching and learning to facilitation and group work. Furthermore, teachers did not know what to teach (Dada et al., 2009:13). In July 2009 the then Minister of Basic Education appointed a panel of experts to investigate the nature of the challenges and problems experienced in the implementation of the National Curriculum Statement and to develop a set of recommendations designed to improve the implementation thereof (Dada et al., 2009:5). The panel of 2009, amongst other things, designed a document called Curriculum Assessment Policy Statement (CAPS). CAPS aims to improve, inter alia, the implementation of Music as a subject in the National Curriculum Statement. CAPS is the single comprehensive Curriculum and Assessment Policy document developed to replace the old Subject Statements, Learning Programme Guidelines and Subject Assessment Guidelines in Grades R – 12, the amended National Curriculum Statement Grades R - 12: Curriculum and Assessment Policy (January 2011), the National Curriculum Statement Grades R - 9 (2002) and the National Curriculum Statement Grades 10 - 12 (2004). Within the changing context of South African education the purpose of the current research is to explore the perceptions of NMMU second year fulltime students on music education at selected senior secondary schools in South Africa. It is proposed that respondents of this study are university music students who were admitted in 2011 for all qualifications in the music department of the Nelson Mandela Metropolitan University.
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Vilakazi, Sandisiwe. „The representation of kwaito in the Sunday Times between 1994 and 2001“. Thesis, 2012. http://hdl.handle.net/10539/11733.
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M.A. University of the Witwatersrand, Faculty of Humanities (Journalism and Media Studies), 2012This research investigates the representation of kwaito in the Sunday Times between 1994 and 2001, a period of transition for South Africa and the South African media. Kwaito, a music phenomenon that began in the streets of townships, was an important social development. Initially, it offered a range of ways in which post-apartheid black youth could represent themselves and their lives, both good and bad. The Sunday Times, on the other hand, was a white establishment newspaper that needed to change to represent a wider community and provide a space for the inclusion of previously neglected areas of South Africa cultural life. My analysis of all the articles on kwaito published in the newspaper demonstrates that the paper increasingly covered kwaito musicians and events, but tended to confine this coverage to the gossip pages of the City Metro, an insert aimed at black readers. On the other hand, commentators in feature and commentary articles in the main body, who had the power as “cultural consecrators” to investigate the meaning of kwaito as a phenomenon, tended to dismiss it as debased form of expression by lost youngsters. This bears out the argument by Hebdige that youth subcultures tend to be accommodated and contained by the media through a process of converting them into mass-produced objects or through neutering them ideologically.
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Mdlalose, Sithembiso Tobias. „Sigiya Ngengoma: Sonics after the Struggle – Kwaito and the Practice of Fugitivity“. Thesis, 2019. https://hdl.handle.net/10539/29352.
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A research report submitted in partial fulfilment of the requirements for the degree of
Master of Arts (Sociology)Can there ever be a space for radical Black performativity, by which I mean, a type of Black performance that is a challenge to, and not just a reiteration of (including in others’ enjoyment of it) the anti-Blackness of the world? This project – film and conceptual essay - investigates the limits and boundaries of this question and it does so through kwaito: a uniquely South African post 1994 musical and cultural phenomenon that is specifically born from the experiences of township life and of Blackness in South Africa. It does so as a way to think about the validity of the proposition put forward by Black Studies (mainly in Afro-pessimism) that violence in the modern world underwrites the Black person’s capacity to think, act, and exist spatially and temporally, this is in opposition, say, to Fred Moten’s Black Optimism, that holds that ‘objects’, that is to say Blacks, can and do resist and they do so through performance. This project then enters the debate in Black Studies through a questioning of the ‘authenticity’ of Black radical performativity and cultural practices and it reads kwaito as a Black cultural performative practice that is a form of fugitivity. This paper looks at some of the more hopeful, humanistic interpretations of Black aesthetics and proposes as a challenge that we rather think about and read kwaito as something close to a deranged apocalyptic response to anti-Blackness, that does not offer answers, and is a movement that operates as a form of fugitivity that unveils the quotidian and banal subjectivity of Black township life in South Africa post 1994.
NG (2020)
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Galane, Sello Edwin. „The music of Philip Tabane - An historical analytical study of Malombo music of South Africa“. Thesis, 2010. http://hdl.handle.net/2263/24447.
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This study seeks to investigate the origin and development of the thinking, make up, evolution, meaning, impact, essence of originality, and attempts to reclaim the true identity of African music of South Africa from 1963 to date by Philip Tabane through his concept of Malombo Music. This study introduces Philip Tabane’s biographical background, and sketches out the socio political milieu in which he has had to do creative work, maps out stages of development of Malombo music, and investigates how media was bent on shaping a particular public opinion about Malombo music. The latter is juxtaposed against Philip Tabane’s own philosophy of music making. The research further investigates what Tabane’s own definition of Malombo is. Primary and secondary sources of data are consulted, including a collection of primary data drawn from continuous dialogue with Dr Philip Tabane himself from 1990 to 2008, and getting to do media scan of public statements made in interviews with journalists. One on one discussions were held with Dr Philip Tabane in order to understand and verify popular views held about him and about his work. Secondary sources included newspaper articles, journals, policy documents, and internet survey. Findings of this research are a record of Philip Tabane’s life, discography; philosophy; compositions; key debates on the management of heritage; rights and ownership of intellectual property in South Africa; analysis of Tabane’s compositional and stylistic format; Tabane’s national and international profile; and suggestions for the development of true national heritage and culture. Above all the research findings will help in providing necessary understanding of South African music history, especially future challenges on concept development in music, ownership and rights, recommended amendments to the existing legislative framework that governs broadcast and copyrights, as well as the very history of one of the least celebrated but honoured son of the soil, Dr Philip Nchipi Tabane. Additional information available on a CD, DVD stored at the Merensky Library on Level 3 CopyrightThesis (DMus)--University of Pretoria, 2010.
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Matthews, Robert Eric. „Generic music style preferences of urban South African adolescents : a follow-up study including additional genres of Hip-Hop, House, Kwaito, Metal and Rhythm&Blues“. Diss., 2011. http://hdl.handle.net/2263/26049.
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This exploratory study measured the generic music style preferences of urban South African adolescents using a cross-section of grade nine adolescent learners living in Johannesburg. Johannesburg is the third largest city in Africa and the largest in sub-Saharan Africa. Quantitatively, through a survey, the research determined which music styles were preferred and qualitatively, through interviews, established the extent to which multifarious variables affected preference. LeBlanc’s Model of the Sources of Variation in Music Preference was used as the theoretical framework upon which the study was built. A similar study, completed ten years ago on South African urban adolescents, conducted by Jennifer James, inspired this study and was used as a point of departure for this project. James’s 2000 study was entitled, Generic Style Music Preferences of Urban South African Students. Examples of fifteen generic styles of music, selected from popular, classical and indigenous traditions, were used as music excerpts in the listening test (Music Preference Questionnaire). Through purposive sampling, a total of five-hundred and sixty-eight learners in grade nine participated in the study. The learner sample used was demographically true in its representation of the country’s population. Three broad categories of variables pertaining to preference were delineated and discussed within the study. These encompassed listener, music and environmental variables. Learner variables included: music training, gender (sex), ethnic group (race and language), socio-economic status, and age. Music variables pertaining to preference included: physiological properties of the stimulus [music], complexity of the stimulus [music], and referential meaning of the stimulus [music]. Environmental variables pertaining to preference included media, peer influence, family influence, and the influence of teachers and authority figures. The study revealed that the current generic music style preferences of South African urban adolescents in order of most to least preferred were: Rhythm and Blues, Western Pop, Kwaito, Reggae, House, Hip-Hop, South African Pop, Western Choral, Metal, Rock, Gospel Jazz, Traditional African, Western Classical and Indian Classical.Dissertation (MMus)--University of Pretoria, 2011.
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Ntaka, Mfundo Goodwill. „Music as culture, music in culture: an analytical“. Thesis, 2007. http://hdl.handle.net/10530/868.
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Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of IsiZulu Namagugu at the University of Zululand, 2007.Music plays a vital role in African cultures and permeates all the spheres of life. Music is part and parcel of culture in African societies. Music informs culture, and culture also informs music. The study of African music using the comparative approach was fraught with numerous pitfalls and shortcomings. Music was studied in isolation, which led to a misconstrued picture of African music. This study has thus employed the ethnomusicological approach. The ethnomusicological approach ensures that music is analysed taking into consideration the cultural context of music. This study looks at mbaqanga music as culture and in culture. The history of mbaqanga music is, thus, analysed taking into account all the factors that impacted on its evolution. The first chapter serves as a background to this study. It deals with the aims of this research and the definition of terms. It also deals briefly with the research methodology employed in this study. The second chapter focuses on a literature review and analytic models. It also looks at the emergence of ethnomusicology as a discipline. It focuses on music as culture and music in culture, and, moreover, it looks at the types of popular music. The third chapter deals with the historical background of mbaqanga music. Genres such as marabi and kwela music are briefly discussed. The political and socio-cultural context of mbaqanga music is discussed. The role of musicians and the media in the development of mbaqanga music is also discussed. The fourth chapter deals with research methodology in detail. This chapter also focuses on the details related to data collection. The fifth chapter deals with the analysis and interpretation of data. It looks at findings from interviews conducted and the analysis of song texts. The sixth chapter offers recommendations and a summary of the findings.
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Ramsay, Mary Robinson. „A survey of school music in South Africa“. Thesis, 1987. http://hdl.handle.net/10413/8925.
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Music in the curricula, music in the schools, supportive materials,
and facilities were examined in six out of seven South African educational
jurisdictions during the late 1970's. Official views were compared with
what actually occurred. A profile of the teachers involved included their
training, responsibilities, and status within the educational system. The
detailed information was compared with trends appearing in the 1980's.Thesis (M.Mus.)-University of Natal, Durban, 1987.
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Polak, Fiona Margaret. „Copyright and digital music collections in South Africa“. Thesis, 2009. http://hdl.handle.net/10413/720.
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Zulu, Thulani. „Contemporary perceptions of music piracy in South Africa“. Diss., 2015. http://hdl.handle.net/11602/215.
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Carver, Amanda Margaret. „Unit standards for African musics in South Africa“. Diss., 2002. http://hdl.handle.net/2263/28989.
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The requirement of the South African Qualifications Authority (SAQA) for unit standards to be written for all fields of learning has given music educators a unique opportunity to identify the needs of the whole community and reassess the priorities of music education in South Africa. The field of African musics poses some special problems because it has been excluded from the curriculum in the past and because the informal learning traditions need careful attention if they are to be adapted to formal learning contexts. A simple substitution of African for Western music theory, history and instrumental practice is not an appropriate course of action, as African musics are rooted in a philosophical framework that is quite different from that of Western music. In order for culturally appropriate unit standards to be written, a philosophical basis of African music-making must first be identified from a study of African music practices. Secondly, an examination of the general principles of the musics of South Africa, with judicious examples taken from other parts of Africa will guide the approach to the writing of unit standards for African musics. Curriculum frameworks from other countries which have developed standards within an outcomes-based education (OBE) context, and the specific outcomes for Arts and Culture, are the third element to inform the writing of unit standards for African musics. The problems of implementation are various, including the shift from informal learning contexts to formal, but in the praxial approach to music education this dilemma can potentially be resolved. Most pressing are the limited resources of provincial education departments, and an emphasis on training to develop the musicianship of educators is of primary importance. African musics in the curriculum will require not only fresh musical material but also a shift in approach, incorporating the community values of the music which affirm the processes of music-making.Dissertation (MMus)--University of Pretoria, 2006.
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Deppe, Liesel Margrit. „South African Music in Transition: A Flutist's Perspective“. Thesis, 2012. http://hdl.handle.net/1807/32697.
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In April 1994 the citizens of South Africa found themselves in the unique position of contemplating a new national culture; one that would for the first time embrace all South Africans, regardless of race, colour or religion. Official segregation, which began in 1948, ended with the first democratic election held in1994. Cross-cultural awareness in South Africa emerged in the 1980s. Within this temporal context, this investigation will trace parallel developments in the South African classical music genre and will relate these developments to the concurrent socio-political environment. Looking specifically at music written for the flute, the selected works were composed for the flute as a solo instrument, or in combination with up to four other instruments by a cross-section of South African composers who either live in South Africa or who have South African roots. The works included in this study were composed roughly ten years before and after 1994; the purpose being to document the changes that were taking place in South African Art Music leading up to the first democratic election and during the exciting times that followed.
The main component of this research is the analysis of the works of nine South African composers, examining cross-cultural content in the musical form: Michael Blake (Honey-Gathering Song, Leaf Carrying Song), Robert Fokkens (Inyoka Etshanini, Cycling to Langa), Hendrik Hofmeyr (Marimba), Hans Huyssen (The Cattle have gone Astray), Bongani Ndodana-Breen (Visions I and II), Isak Roux (Sketches, Four African Scenes), Martin Scherzinger (Whistle of the Circle Movement), Becky Steltzner (Hambani Kakuhle Kwela) and Kevin Volans (Walking Song). Biographical information and compositional philosophies are also included for each composer. In addition, publisher and recording details are provided where they exist. The works contained in this document are organized by cross-cultural borrowing technique: overt cross-cultural borrowing, borrowing guided by African music-making principles, African paraphrasing, and inspirational landscape painting. A brief history of Art Music in South Africa is provided, as is an overview of African musics and instruments. The analysis of each work considers African musical influences and their incorporation, while performance suggestions will also elucidate unique African aspects of the music.