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Thematische Bibliographien / Kwaito (Music) – South Africa / Zeitschriftenartikel

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Zeitschriftenartikel zum Thema „Kwaito (Music) – South Africa“

Autor: Grafiati

Veröffentlicht am 30. Juni 2021

Zuletzt aktualisiert am 1. Februar 2022

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1

Livermon. „“Si-ghetto Fabulous” (“We Are Ghetto Fabulous”): Kwaito Musical Performance and Consumption in Post-Apartheid South Africa“. Black Music Research Journal 34, Nr. 2 (2014): 285. http://dx.doi.org/10.5406/blacmusiresej.34.2.0285.

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2

Lobley, Noel. „Kwaito’s promise: music and the aesthetics of freedom in South Africa“. Ethnomusicology Forum 27, Nr. 3 (02.09.2018): 368–70. http://dx.doi.org/10.1080/17411912.2018.1543609.

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3

Dalamba, Lindelwa. „Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa“. Muziki 14, Nr. 2 (03.07.2017): 129–33. http://dx.doi.org/10.1080/18125980.2017.1393195.

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4

Perullo, Alex. „Kwaito’s promise: music and the aesthetics of freedom in South Africa“. Popular Music and Society 41, Nr. 4 (24.07.2018): 468–69. http://dx.doi.org/10.1080/03007766.2018.1492687.

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5

Plageman, Nate. „Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa“. Canadian Journal of African Studies / Revue canadienne des études africaines 52, Nr. 3 (30.04.2018): 382–84. http://dx.doi.org/10.1080/00083968.2018.1460238.

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6

Lwanga, Charles. „Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa“. Eastern African Literary and Cultural Studies 6, Nr. 1 (03.11.2019): 78–81. http://dx.doi.org/10.1080/23277408.2019.1662270.

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7

Love, Jacob Wainwright. „Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa by Gavin Steingo“. Anthropological Quarterly 93, Nr. 2 (2020): 221–25. http://dx.doi.org/10.1353/anq.2020.0032.

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8

Wint, Suzanne. „Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa by Gavin Steingo“. Notes 75, Nr. 4 (2019): 685–87. http://dx.doi.org/10.1353/not.2019.0049.

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9

GARCIA, LUIS-MANUEL. „Gavin Steingo, Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa (Chicago: University of Chicago Press, 2016), ISBN 978-0-226-36240-3 (hb), ISBN 978-0-226-36254-0 (pb).“ Twentieth-Century Music 15, Nr. 2 (Juni 2018): 309–16. http://dx.doi.org/10.1017/s147857221800018x.

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10

Ogle, Lizzie. „Steingo, Gavin. Kwaito's promise: music and the aesthetics of freedom in South Africa. xx, 307 pp., maps, illus., bibliogr. Chicago: Univ. Press, 2016. £22.50 (paper)“. Journal of the Royal Anthropological Institute 25, Nr. 1 (03.02.2019): 175–76. http://dx.doi.org/10.1111/1467-9655.12973.

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11

Daniels, Douglas Henry, und Charles Hamm. „Afro-American Music, South Africa, and Apartheid“. American Music 8, Nr. 1 (1990): 120. http://dx.doi.org/10.2307/3051941.

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12

DjeDje, Jacqueline Cogdell, Charles Hamm und Christopher Small. „Afro-American Music, South Africa, and Apartheid“. Black Perspective in Music 18, Nr. 1/2 (1990): 228. http://dx.doi.org/10.2307/1214893.

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13

Erlmann, Veit. „Recordings of Traditional Music in South Africa“. Yearbook for Traditional Music 20 (1988): 247. http://dx.doi.org/10.2307/768190.

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14

Vaughan Williams, C. H. „The music makers: Harmonisation in South Africa“. BMJ 315, Nr. 7099 (05.07.1997): i. http://dx.doi.org/10.1136/bmj.315.7099.0i.

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15

Coplan, David B. „Aids, politics, and music in South Africa“. Anthropology Southern Africa 39, Nr. 4 (30.11.2016): 325–27. http://dx.doi.org/10.1080/23323256.2016.1233820.

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16

Muller, Stephanus. „Gavin Steingo. Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: University of Chicago Press, 2016. xx + 307 pp. Maps. Photographs. Music examples. Notes. Bibliography. Index. $90.00. Cloth. $30.00. Paper. $10.00 to $30.00. E-Book. ISBN-13: 978-0-226-36240-3 (cloth); 978-0-226-36254-0 (paper); 978-0-226-36268-7 (e-book).“ African Studies Review 62, Nr. 2 (14.01.2019): E48—E50. http://dx.doi.org/10.1017/asr.2018.131.

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17

Stolp, Mareli. „New Music for New South Africans: The New Music Indabas in South Africa, 2000–02“. Journal of the Royal Musical Association 143, Nr. 1 (2018): 211–32. http://dx.doi.org/10.1080/02690403.2018.1434354.

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ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions for South African art-music production and practice.

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18

MURPHY, REGINA, und MARTIN FAUTLEY. „Music Education in Africa“. British Journal of Music Education 32, Nr. 3 (November 2015): 243–45. http://dx.doi.org/10.1017/s0265051715000388.

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Coming from Botswana, South Africa, Zimbabwe, Ghana and Kenya, the papers in this Special Issue on Music Education in Africa cannot portray a definitive story of music education in all 54 sovereign states in the Continent, but as a first step towards understanding what matters in this region of the world, the range of topics in this issue provides us with a focal point for dialogue.

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19

Shoup, John. „Pop Music and Resistance in Apartheid South Africa“. Alif: Journal of Comparative Poetics, Nr. 17 (1997): 73. http://dx.doi.org/10.2307/521608.

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20

Oehrle, Elizabeth. „Education Through Music: Towards A South African Approach“. British Journal of Music Education 10, Nr. 3 (November 1993): 255–61. http://dx.doi.org/10.1017/s0265051700001790.

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Music making in Africa has been, and is, an essential aspect of living. The philosophy and process of music making in South African schools bares no relevance to this idea. The present situation is that South African music educators are propagating western music education methods, while so-called ‘western’ music educators are turning to Africa to find answers to their perplexing problems. This paradoxical situation highlights the importance of evolving a philosophy and process of intercultural education through music for South Africa which draws upon research into music making in Africa.

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21

Impey, Angela, und Veit Erlmann. „Nightsong: Performance, Power, and Practice in South Africa“. Yearbook for Traditional Music 28 (1996): 192. http://dx.doi.org/10.2307/767814.

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22

Erlmann, Veit. „’Africa civilised, Africa uncivilised’: local culture, world system and South African music“. Journal of Southern African Studies 20, Nr. 2 (Juni 1994): 165–79. http://dx.doi.org/10.1080/03057079408708394.

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23

Oehrle, Elizabeth. „Challenges in Music Education Facing the New South Africa“. British Journal of Music Education 15, Nr. 2 (Juli 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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South Africa is undergoing dynamic changes affecting all aspects of life, and legacies of the previous regime have a bearing on these changes. Music educators informal institutions face many challenges. Music-making in the informal sector is extensive, ongoing and relevant. Today, one of the greatest challenges for music educators in the formal sector is to realise the importance and value of developing a philosophy and process of music education that emanates and evolves from musics and musical practices existing in southern Africa.

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24

Bräuninger, Jürgen. „Southern Cones: Music out of Africa and South America“. Leonardo Music Journal 10 (Dezember 2000): 71–72. http://dx.doi.org/10.1162/096112100570486.

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25

Bosch, Tanja Estella. „Commercial music radio, race and identity in South Africa“. Media, Culture & Society 36, Nr. 7 (08.07.2014): 901–15. http://dx.doi.org/10.1177/0163443714536076.

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26

Muller, Carol A. „Why Jazz? South Africa 2019“. Daedalus 148, Nr. 2 (April 2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.

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I consider the current state of jazz in South Africa in response to the formation of the nation-state in the 1990s. I argue that while there is a recurring sense of the precarity of jazz in South Africa as measured by the short lives of jazz venues, there is nevertheless a vibrant jazz culture in which musicians are using their own studios to experiment with new ways of being South African through the freedom of association of people and styles forming a music that sounds both local and comfortable in its sense of place in the global community. This essay uses the words of several South African musicians and concludes by situating the artistic process of South African artist William Kentridge in parallel to jazz improvisation.

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27

Oerhle, Elizabeth. „The Talking Drum:Towards the dissemination of musics in South Africa“. Journal of the Musical Arts in Africa 10, Nr. 1 (Dezember 2013): 135–38. http://dx.doi.org/10.2989/18121004.2013.846991.

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28

Coplan, David, und Veit Erlmann. „Iscathamiya: Zulu Workers Choirs in South Africa“. Ethnomusicology 34, Nr. 2 (1990): 352. http://dx.doi.org/10.2307/851709.

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29

Spencer, Piers. „ISME Conference Pretoria, South Africa 19–26 July 1998“. British Journal of Music Education 15, Nr. 3 (November 1998): 235–38. http://dx.doi.org/10.1017/s0265051700003910.

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30

Erasmus, Zimitri, und Nadège Ragaru. „Sounding the Cape : Music, Identity and Politics in South Africa“. Critique internationale N° 67, Nr. 2 (2015): 179. http://dx.doi.org/10.3917/crii.067.0179.

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31

Phakathi, Mlungisi. „The role of music in combating xenophobia in South Africa“. African Renaissance 16, Nr. 3 (17.09.2019): 123–45. http://dx.doi.org/10.31920/2516-5305/2019/v16n3a7.

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32

Bräuninger, Jürgen. „Introduction: Southern Cones: Music out of Africa and South America“. Leonardo Music Journal 10 (Dezember 2000): 70. http://dx.doi.org/10.1162/096112100570477.

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33

Pavlicevic, Mercédès. „Taking music seriously: Sound thoughts in the newer South Africa“. Muziki 1, Nr. 1 (Januar 2004): 3–19. http://dx.doi.org/10.1080/18125980408529729.

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34

Pype, Katrien. „Sounding the Cape: Music, identity and politics in South Africa“. Canadian Journal of African Studies / Revue canadienne des études africaines 49, Nr. 3 (02.09.2015): 545–46. http://dx.doi.org/10.1080/00083968.2015.1071087.

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35

Gregory, Jonathan. „Sounding the Cape: Music, Identity and Politics in South Africa“. Journal of the Musical Arts in Africa 12, Nr. 1-2 (03.07.2015): 115–18. http://dx.doi.org/10.2989/18121004.2015.1129163.

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36

Sey, James. „Psychoanalysis and South Africa“. American Imago 55, Nr. 1 (1998): 3–8. http://dx.doi.org/10.1353/aim.1998.0007.

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37

Buis, Johann. „Black American Music and the Civilized-Uncivilized Matrix in South Africa“. Issue: A Journal of Opinion 24, Nr. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.

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In a recent article by Veit Erlmann in the South African journal of musicology (SAMUS vol. 14, 1995) entitled “Africa Civilized, Africa Uncivilized,” Erlmann draws upon the reception history of the South African Zulu Choir’s visit to London in 1892 and the Ladysmith Black Mambazo presence in Paul Simon’s Graceland project to highlight the epithet “Africa civilized, Africa uncivilized.” Though the term was used by the turn of the century British press to publicize the event, the slogan carries far greater impact upon the locus of the identity of urban black people in South Africa for more than a century.

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38

Allen, Lara, und Louise Meintjes. „Sound of Africa! Making Music Zulu in a South African Studio“. Yearbook for Traditional Music 35 (2003): 198. http://dx.doi.org/10.2307/4149334.

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39

DE JONG, NANETTE, und KING MADZIKANE II THANDISZWE DIKO. „Maskanda, Umkhosi wokukhahlela and the Articulation of Identity in South Africa“. Journal of the Royal Musical Association 145, Nr. 1 (Mai 2020): 167–90. http://dx.doi.org/10.1017/rma.2020.8.

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AbstractUmkhosi wokukhahlela is an annual ceremony in the KwaBhaca Great Kingdom (Eastern Cape, South Africa) that celebrates virginity among young women and girls. Not regularly practiced for decades, it has recently made a comeback, having been strategically adopted by King Madzikane II as a tool of empowerment in the fight against the HIV pandemic, the rise in teen pregnancies, rape and school dropouts, as well as the abuse of women in general. This article investigates the return of Umkhosi wokukhahlela through Antonio Gramsci’s notion of ‘articulation’. As we shall see, the ritual is a particularly engaging and thoroughgoing example of how local communities intertwine the past with the present to reshape their own identity, borrowing from tradition to articulate specific life lessons germane to the present – and future – of the Bhaca people.

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40

Woodward, Sheila C., Julia Sloth-Nielsen und Vuyisile Mathiti. „South Africa, the arts and youth in conflict with the law“. International Journal of Community Music 1, Nr. 1 (24.08.2007): 69–88. http://dx.doi.org/10.1386/ijcm.1.1.69_0.

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41

Taylor, Timothy D., und Veit Erlmann. „Music, Modernity, and the Global Imagination: South Africa and the West“. Yearbook for Traditional Music 32 (2000): 212. http://dx.doi.org/10.2307/3185271.

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42

van Zyl, Silvia. „Audiation, aural training and the visually impaired pianist in South Africa“. Journal of the Musical Arts in Africa 15, Nr. 1-2 (03.07.2018): 119–30. http://dx.doi.org/10.2989/18121004.2018.1556897.

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43

Muller, Stephanus. „A COMPOSER IN AFRICA: AN INTERVIEW WITH STEFANS GROVÉ“. Tempo 61, Nr. 240 (April 2007): 20–27. http://dx.doi.org/10.1017/s0040298207000101.

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South African composer Stefans Grové celebrates his eighty-fifth birthday this year. Grové studied under Erik Chisholm in Cape Town, took his Master's at Harvard under Walter Piston and attended Aaron Copland's composition class at the Tanglewood Summer School. He taught for over a decade at the Peabody Institute in Baltimore before returning to South Africa in 1972. He is Composer in Residence at the University of Pretoria.

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44

Buis, Johann S., und Veit Erlmann. „Nightsong: Performance, Power, and Practice in South Africa“. Ethnomusicology 42, Nr. 1 (1998): 157. http://dx.doi.org/10.2307/852834.

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45

Buis, Johann. „Black American Music and the Civilized-Uncivilized Matrix in South Africa“. Issue: A Journal of Opinion 24, Nr. 2 (1996): 28. http://dx.doi.org/10.2307/1166842.

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46

Durham, Deborah, und Veit Erlmann. „Music, Modernity, and the Global Imagination: South Africa and the West“. African Studies Review 42, Nr. 3 (Dezember 1999): 202. http://dx.doi.org/10.2307/525279.

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47

Gavin Steingo. „The Inaudible Nation: Music and Sensory Perception in Postapartheid South Africa“. Cultural Critique 95 (2017): 71. http://dx.doi.org/10.5749/culturalcritique.95.2017.0071.

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48

Muller, Carol A., und Louise Meintjes. „Sound of Africa! Making Music Zulu in a South African Studio“. International Journal of African Historical Studies 36, Nr. 2 (2003): 449. http://dx.doi.org/10.2307/3559399.

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49

Sarkissian, Margaret, und Veit Erlmann. „Music, Modernity, and the Global Imagination: South Africa and the West“. Ethnomusicology 45, Nr. 2 (2001): 355. http://dx.doi.org/10.2307/852680.

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50

SHANNON, JONATHAN H. „Sound of Africa! Making Music Zulu in a South African Studio“. American Anthropologist 106, Nr. 2 (Juni 2004): 395–96. http://dx.doi.org/10.1525/aa.2004.106.2.395.

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