Relevant bibliographies by topics / Musicians – South Africa

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Musicians – South Africa'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Musicians – South Africa"

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Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (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 Africa
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Stolp, Mareli. "New Music for New South Africans: The New Music Indabas in South Africa, 2000–02." Journal of the Royal Musical Association 143, no. 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
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McNeill, Fraser G. "MAKING MUSIC, MAKING MONEY: INFORMAL MUSICAL PRODUCTION AND PERFORMANCE IN VENDA, SOUTH AFRICA." Africa 82, no. 1 (2012): 93–110. http://dx.doi.org/10.1017/s000197201100074x.

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ABSTRACTThis article presents an ethnographic analysis of the popular economy of informal musical production in the Venda region of South Africa. It focuses on the activities surrounding the Burnin' Shak Studio, a recording house that specializes in reggae music. Reliant on second-hand computers, pirated software, borrowed instruments, networks of trust and cycles of debt, musicians and producers in the Burnin' Shak occupy a distinctly peripheral position in South Africa's music industry. Unlike artists in the formal sphere of musical production, who sign deals with specific record labels, mus
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Onyebadi, Uche. "Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy." Humanities 7, no. 4 (2018): 129. http://dx.doi.org/10.3390/h7040129.

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Political communication inquiry principally investigates institutions such as governments and congress, and processes such as elections and political advertising. This study takes a largely unexplored route: An assessment of political messages embedded in music, with a focus on the artistic works of three male African music icons—Fela Anikulapo-Kuti (Nigeria), Lucky Dube (South Africa), and Alpha Blondy (Côte d’Ivoire). Methodologically, a purposive sample of the lyrics of songs by the musicians was textually analyzed to identify the themes and nuances in their political messaging. Framing was
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Durrant, Colin. "Cultural exchanges: contrasts and perceptions of young musicians." British Journal of Music Education 20, no. 1 (2003): 73–82. http://dx.doi.org/10.1017/s0265051702005223.

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This article focuses on young musicians' perceptions of their musical and cultural experiences while on a tour of South Africa during the summer of 2000. The young musicians were asked to keep journals throughout the tour in order to be able to recall their reactions and feelings about their various experiences. The comments, particularly the written ones from the young musicians, vividly display the impact of such experiences on their musical and emotional life. While conclusions are incomplete, some implications for the nature of cultural exchange and understanding and music education in gen
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Polak, Fiona, and Athol Leach. "DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS." Mousaion: South African Journal of Information Studies 32, no. 3 (2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.

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Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polak’s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The g
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Rennie-Salonen, Bridget, and Frelét de Villiers. "Towards a model for musicians’ occupational health education at tertiary level in South Africa." Muziki 13, no. 2 (2016): 130–51. http://dx.doi.org/10.1080/18125980.2016.1182823.

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Drewett, Michael. "Exploring ‘space’ in censorship battles: the case of popular musicians in 1980s South Africa." South African Review of Sociology 45, no. 1 (2014): 3–26. http://dx.doi.org/10.1080/21528586.2014.887912.

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JOHNSON-WILLIAMS, ERIN. "The Examiner and the Evangelist: Authorities of Music and Empire, c.1894." Journal of the Royal Musical Association 145, no. 2 (2020): 317–50. http://dx.doi.org/10.1017/rma.2020.16.

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AbstractIn the 1890s, two musicians travelled between Britain and South Africa. One was the first examiner to travel abroad to examine for the Associated Board of the Royal Schools of Music, Franklin Taylor. At the same time as Taylor’s arrival in the Cape in 1894, a black South African composer, John Knox Bokwe, prepared to republish a tonic sol-fa hymnal containing many hymns that eventually became popular in Britain, to which Bokwe travelled multiple times. Although these narratives might appear to reflect highly divergent contexts for musical experience, the fluctuating constructions of im
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Ajidahun, Adedayo T., and Julie Phillips. "Prevalence of Musculoskeletal Disorders Among Instrumental Musicians at a Center for Performing Arts in South Africa." Medical Problems of Performing Artists 28, no. 2 (2013): 96–99. http://dx.doi.org/10.21091/mppa.2013.2017.

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The prevalence of playing-related musculoskeletal disorders (PRMD) is high in various countries of the world, but there is a paucity of literature in Africa. The aim of this study was to determine the prevalence of PRMDs among instrumentalists in South Africa, with specific objectives in determining the distribution, symptoms, and pain severity. The self-administered Nordic Musculoskeletal Questionnaire was used to collect information from the participants regarding the lifetime and current prevalence and the distribution of PRMD symptoms. A visual analog scale was used to collect information
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Dissertations / Theses on the topic "Musicians – South Africa"

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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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Matier, Rosemary. "Georg Gruber : his contribution to music education in South Africa and an evaluation of selected vocal compositions and arrangements." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002312.

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In this thesis I have given a factual account of Georg Gruber's contribution to music education in South Africa by giving a short biography and studying a) his philosophy of music education, b) the content of the music courses offered at Rhodes University during his occupancy of the Chair (1955-1972), c) the content of the music courses offered at the University of Fort Hare from 1974-1977, d) his contribution to choral education, e) his publications in the field of music education. I have given an evaluation of selected vocal compositions: a) Two masses, b) Terra Nova , c) Two African cantata
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Fourie, Marelise. "Die uitdaging van biografie-skrywing : 'n lewe van Betty Pack." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1594.

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Thesis (MMus (Music))--Stellenbosch University, 2008.<br>This study consists of two parts. The first part focuses primarily on literature that discusses the biography in general, and then turns its focus more sharply on the music biography. A critical reading of three South African music biographies is conducted in order to identify tendencies or patterns in the biographical writing of musicians, especially performers. The second part of this thesis consists of a biographical case study of Pack. This particular biography makes no claim that it will not be faced with the same problems il
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Lewis, Mary Christine. "A cultural biography of Mantombi Matotiyana and Maxanjana Mangaliso : two contemporary African musicians." Thesis, Stellenbosch : University of Stellenbosch, 2001. http://hdl.handle.net/10019.1/52073.

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Thesis (MMus) -- University of Stellenbosch, 2001.<br>ENGLISH ABSTRACT: This study aims to present a cultural monograph of two contemporary South African musicians, Mantombi Matotiyana and Maxanjana Mangaliso. Both musicians are highly regarded and respected for their exceptional musical abilities within their community and society, as well as abroad. This study furthermore wishes to make a contribution towards the establishment of 'experience-based' ethnomusicological field research in South Africa. In keeping with these aims, the material, which has been assembled from personal inter
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Burger, Inge Mari. "The life and work of Khabi Mngoma." Doctoral thesis, Faculty of Humanities, 1992. http://hdl.handle.net/11427/34039.

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The thesis intends to describe the life and work of Khabi Mngoma, protagonist of black music education in South Africa (latter half of the twentieth century), with reference to historical, socio-political, anthropological, educational and musicological aspects. His musical development from a mere participator in musical activities of his environment to a dominantly influential initiator of cultural and musical activities and education programmes on a national scale, is investigated. The study is presented in thirteen chapters: the first three chapters explore the musical influences of Khabi Mn
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Pieterse, Candice Belinda. "A case study of Kurt Donald Cobain." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1157.

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Case study research allows for an in depth study of an individual and yields relevant insight and results while examining an individual in their entirety. This approach allows the researcher to capture the uniqueness of a subject and thus provide an interesting understanding of that individual. The study is a case study of Kurt Donald Cobain. Cobain (1967-1994) was an American musician who served as songwriter, lead singer and guitarist for the band, Nirvana. He struggled with drug addiction during the last years of his life, and died on 8 April 1994 from a self-inflicted gunshot wound to his
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Mossolow, Alexandra Xenia Sabina. "The career of South African soprano Nellie du Toit, born 1929." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16394.

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Thesis (M. Mus.)--University of Stellenbosch, 2003.<br>ENGLISH ABSTRACT: Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher h
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Butete, Netsayi. "The jazz divas an analysis of the musical careers of six New Brighton vocalists." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002298.

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There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton
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Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.

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Kleynhans, Cara. "Steven de Groote (1953-1989) : die loopbaan van 'n Suid-Afrikaanse konsertpianis." Thesis, Stellenbosch : University of Stellenbosch, 2007. http://hdl.handle.net/10019.1/3406.

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Thesis ( MMus (Music))--University of Stellenbosch, 2007.<br>Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction
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Books on the topic "Musicians – South Africa"

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Chilvers, Garth. History of contemporary music of South Africa. Toga Pub., 1994.

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Don, Albert, ed. Jazz, blues & swing: Six decades of music in South Africa. David Philip, 2007.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. The University of Chicago Press, 2008.

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In township tonight!: South Africa's Black city music and theatre. Ravan Press, 1985.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. University of Chicago Press, 2008.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. University of Chicago Press, 2008.

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Coplan, David B. In township tonight!: South Africa's Black city music and theatre. 2nd ed. University of Chicago Press, 2008.

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Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. University of Chicago Press, 2008.

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In township tonight!: South Africa's Black city music and theatre. Longman, 1985.

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In township tonight!: Three centuries of South African black city music and theatre. 2nd ed. Jacana Media, 2007.

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Book chapters on the topic "Musicians – South Africa"

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Steingo, Gavin. "Electronic Music and the Problem of Electricity." In Audible Infrastructures. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932633.003.0012.

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For the past twenty years, South African popular music has been dominated by electronic genres such as house, kwaito, and hip-hop—especially among the Black population living in and around major urban centers. Based on fieldwork in the townships of Soweto, this chapter focuses on a fundamental condition of possibility for any kind of electronic music: electricity. Since 2008, South Africa has experienced massive problems with its electricity infrastructure. These problems resulted in widespread rolling blackouts between 2008 and 2009, and since 2014 the situation has worsened. The chapter asks what becomes of electronic music in a context where access to electricity is radically unreliable, if not completely absent. What do musicians do when the electricity supply stops? What kinds of affect become impossible, and what kinds of affect are generated? How do power outages impact a musician’s relationship to citizenship and to the state? The chapter traces the lines of connection between informal home studios and Eskom (South Africa’s state-owned electricity utility) as way of listening to and for infrastructure—developing a critique regarding the tropes of invisibility and breakdown in infrastructural research along the way. It further illuminates the ways that electronic musicians in South Africa are compelled to engage the very material basis of their activities. With this approach, the meaning of the term “electronic music” is revealed to be much more than a generic or stylistic description. In South Africa, electronic music refers first and foremost to its material constitution as electrical energy.
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Hill, Juniper. "Developing Creativity-Enabling Skills." In Becoming Creative. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.003.0002.

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This chapter examines six skill sets for enabling creativity that are important across multiple music cultures: physical technique, aural skills, vocabulary and memory facility, syntax tools, decision-making skills, and self-assessment skills. The extent to which musicians develop and are able to employ these skills correlates with their learning experiences. Social environment, values, and belief systems shape different learning approaches. The natures of human memory and oral culture further interact to facilitate creativity-enabling skill development. Valuable insights are drawn from the experiences of classical, jazz, and traditional musicians in South Africa, Finland, and the United States. Formal and informal music education, authoritarian and learner-directed teaching, emphasis on obedience and student agency, and reliance on notation and playing by ear all have long-term consequences for creative development.
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"Sathima Bea Benjamin as Jazz Musician." In Focus: Music of South Africa. Routledge, 2010. http://dx.doi.org/10.4324/9780203930632-25.

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Goldsmith, Thomas. "The Piedmont’s Rich Musical Soil." In Earl Scruggs and Foggy Mountain Breakdown. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042966.003.0003.

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The piedmont areas of North and South Carolina provided much of the music that Earl Scruggs heard in his youth. After hearing the music of banjoists such as Charlie Poole, Snuffy Jenkins, Fisher Hendley, Smith Hammett and Mack Woolbright, Scruggs created his own three-finger style. Poole was a successful recording artist and model performer whose banjo playing resembled the classic style. Snuffy Jenkins is most often cited as Scruggs’s predecessor in three-finger banjo. Fisher Hendley was a businessman and civic figure as well as a musician. Woolbright was a blind musician who made a deep impression on Scruggs. Smith Hammett played a three-finger style perhaps inspired by a traveling African American musician. Hammett experienced a violent death. Scruggs came up with his own style when 10 or 11 years old while playing in the parlor of his family home in Flint Hill. Jim Mills explains Scruggs’s unique step forward.
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Rapport, Evan. "“Raw Power”: Protopunk Transformations of the Blues." In Damaged. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0002.

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Punk’s musical style can be considered as beginning with the transformations to blues resources explored mostly by white baby boomers invested in the sixties counterculture, especially in the northern Midwest, such as the Stooges and the MC5. Their approaches to the blues were a response to the changing stakes of musical expressions of whiteness and Blackness during the 1960s, connected to the social upheaval surrounding so-called white flight to the suburbs and the Second Great Migration of African Americans from the South. Some similar approaches to the blues were also cultivated in New York among musicians such as the Velvet Underground. Their music emphasized riffs, limited harmonic movement, and other features which are described in this chapter as the “Raw Power” approach to punk. But despite punk’s deep musical roots in the blues, the discourse around punk served to obscure these connections.
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Magnarella, Paul J. "Life Then and Now." In Black Panther in Exile. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066394.003.0016.

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Paul Magnarella describes his first meeting with the O’Neals and summarizes their experiences and accomplishments in Tanzania and abroad. Through the UAACC the O’Neals have organized free workshops and classes on health and nutrition, conservation, AIDS education, writing, art appreciation, crafts, history, and computer skills to well over 100 Tanzanian youths annually. They established a student-exchange program with De LaSalle Academy in Kansas City, a Sister City relationship between Arusha and Kansas City, as well as linkages with several study-abroad programs in the U.S. Their supporters have donated needed medical supplies and equipment to Arusha hospitals. The UAACC and the Kuji Foundation, created by Geronimo Ji Jaga Pratt, hired a South African company to drill a deep well for the village community. Geronimo’s Fugi Foundation also donated an ambulance truck to the UAACC. With support from the Fugi Foundation, the Center trained several young, mixed-gender Tanzanian teams to install solar panels in 85 village homes that had no electricity. Charlotte O’Neal has become a recognized visual and spoken-word artist, musician, and filmmaker. She travels the world giving performances and spreading the news of the UAACC. Both she and Pete O’Neal have received many awards and recognitions for their communal work.
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Conference papers on the topic "Musicians – South Africa"

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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these co
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