Academic literature on the topic 'Musicians – South Africa'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Musicians – South Africa.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Musicians – South Africa"
1
Muller, Carol A. "Why Jazz? South Africa 2019." Daedalus 148, no. 2 (April 2019): 115–27. http://dx.doi.org/10.1162/daed_a_01747.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
McNeill, Fraser G. "MAKING MUSIC, MAKING MONEY: INFORMAL MUSICAL PRODUCTION AND PERFORMANCE IN VENDA, SOUTH AFRICA." Africa 82, no. 1 (January 19, 2012): 93–110. http://dx.doi.org/10.1017/s000197201100074x.
Full textAbstract:
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, musicians in the informal sector seek out sponsors – usually young local businessmen – to fund their recordings with local producers. Marketing and distribution is the sole responsibility of the artist and the sponsor, who often develop a ‘patron–client’ relationship. And yet whilst the artists' entrepreneurial activity often earns them significant airplay on local radio stations, and associated cultural capital, the financial benefits are slim. In order to convert their cultural capital into cash, musicians in the informal sector must compete in the market for performances at government-sponsored shows. These shows are well funded by lucrative tenders, but they present musicians with a double-edged sword. To secure a contract with tender holders – or to entertain hopes of regular paid performances – musicians must ensure that these performances do not express critical political sentiment. As purveyors of a genre renowned for its critical social commentary, reggae musicians are particularly affected by this expectation of self-censorship. Informal musical production in the post-apartheid era thus affords musicians little artistic freedom. Rather, whilst the products of this culture industry may appear to be part of a ‘secondary’ economy, removed from the spheres of formalized production and control, they are in fact regulated and standardized through the process of tender allocation.
4
Onyebadi, Uche. "Political Messages in African Music: Assessing Fela Anikulapo-Kuti, Lucky Dube and Alpha Blondy." Humanities 7, no. 4 (December 6, 2018): 129. http://dx.doi.org/10.3390/h7040129.
Full textAbstract:
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 the theoretical underpinning. This study determined that all three musicians were vocal against corruption, citizen marginalization, and a cessation of wars and bloodshed in the continent.
5
Durrant, Colin. "Cultural exchanges: contrasts and perceptions of young musicians." British Journal of Music Education 20, no. 1 (March 2003): 73–82. http://dx.doi.org/10.1017/s0265051702005223.
Full textAbstract:
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 general are put forward.
6
Polak, Fiona, and Athol Leach. "DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS." Mousaion: South African Journal of Information Studies 32, no. 3 (September 30, 2016): 69–92. http://dx.doi.org/10.25159/0027-2639/1677.
Full textAbstract:
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 guiding theoretical framework is based on the Berne Convention (2014) and the World Intellectual Property Organization (WIPO) Copyright Treaty (1996) which provide the overarching international framework for guiding copyright. The literature review focuses on the international and national legislation; copyright in original recordings; duration of copyright; fair use, the public domain and information commons; copyright and fair dealing; and the South African Copyright Act (No. 98 of 1978). A survey conducted by e-mail identified problem areas experienced by the music librarians regarding the digital music copyright laws in South Africa. Two sets of guidelines for South African music librarians were formulated using their responses and the literature reviewed, and recommendations are made.
7
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 (July 2, 2016): 130–51. http://dx.doi.org/10.1080/18125980.2016.1182823.
Full text
8
Drewett, Michael. "Exploring ‘space’ in censorship battles: the case of popular musicians in 1980s South Africa." South African Review of Sociology 45, no. 1 (January 2, 2014): 3–26. http://dx.doi.org/10.1080/21528586.2014.887912.
Full text
9
JOHNSON-WILLIAMS, ERIN. "The Examiner and the Evangelist: Authorities of Music and Empire, c.1894." Journal of the Royal Musical Association 145, no. 2 (November 2020): 317–50. http://dx.doi.org/10.1017/rma.2020.16.
Full textAbstract:
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 imperial authority encountered in the careers of both these men link their stories together more deeply than their geographical and cultural disparities set them apart. The synchronous presentation of their stories in this article thus raises questions of how music emerged as a metaphor for constructions of imperial knowledge across shifting cultural boundaries.
10
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 (June 1, 2013): 96–99. http://dx.doi.org/10.21091/mppa.2013.2017.
Full textAbstract:
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 on the severity of pain, while the questionnaire designed by Blackie, Stone, and Tiernan (1999) was used to collect information on the symptoms of the PRMDs. Twenty participants took part in this study, and the respondents reported a lifetime prevalence (over a period of 12 months) of PRMDs as 14 out of 17 and the current prevalence (in the last 7 days) as 4. Pain severity was mostly mild, and the most affected region was in the upper extremities, with the shoulders being the most affected. Tightening and soreness were the most reported symptom of PRMDs. The prevalence of PRMDs among this population was high, although severity was mild, with the upper extremities being the most affected area.
Dissertations / Theses on the topic "Musicians – South Africa"
1
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/.
Full text
2
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.
Full textAbstract:
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 cantatas, i) Ukucula Ematola and ii) Izango ZakwaNtu , and seven arrangements of real folksongs from several different countries: a) Coventry Carol and Sweet Nightingale, b) Die Alibama, c) Merck tog hoe sterck, d) Entre Ie Boeuf et l'Ane gris, e) Aba Heidschi-bum-beidschi and f) Cheder Katan. Through the above study I have drawn conclusions regarding his compositional techniques prior to coming to South Africa as shown in the two mass compositions a nd the changes which occurred after being exposed to African music. The attention to detail in his arrangements and their sheer simplicity show his skill and craftsmanship also in this genre. Appendices of the works discussed have been submitted in a separate file and Appendix 8 lists all his available folksong arrangements.
3
Fourie, Marelise. "Die uitdaging van biografie-skrywing : 'n lewe van Betty Pack." Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/1594.
Full textAbstract:
Thesis (MMus (Music))--Stellenbosch University, 2008.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 illustrated in the general discussion on biography as a discipline, but rather through the established critical frame claims to qualify and critically elucidate the biographical writing pertaining to Pack. This case study will underline one of the defining elements in the writing of lives of those figures who are considered less important, namely the limited resource material that tend to replicate the themes and stereotypes inherent in biographical writing. This practical problem causes an inevitable repetition of the intellectual difficulties of biographical writing. The purpose of this biography, which is the combination of different source materials and, is not necessarily to avoid these “myths”, but to identify it by critical reflection. With this approach, it is not the biography itself that becomes “critical”, but rather the reading and comprehension of the biography. Finally, the conclusion is reached that Betty Pack’s life as committed to paper and memory displays various themes and topoi characteristic of the music biography in general, rather than just the biographies of performers. The conventions of music biography, as consolidated in the biographical descriptions of composers, thus still provide the norms and forms for the biography of the performing artist.
4
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.
Full textAbstract:
Thesis (MMus) -- University of Stellenbosch, 2001.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 interviews with Matotiyana and Mangaliso, is in narrative. It is based on their personal memories, recollections and perspectives, as well as their views about and attitudes towards their songs, all aspects of composition, instruments and performance. The study therefore looks at the interaction between the lives and the songs of Matotiyana and Mangaliso and relates it to their relevant experiences. The musicological study of Matotiyana's songs further illuminates her particular style, as well as her contribution to contemporary Xhosa bow songs in general, especially within the broader context of Xhosa musical traditions.
AFRIKAANSE OPSOMMING: Hierdie studie poog om 'n kulturele monografie van die twee kontemporêre Suid- Afrikaanse musici Mantombi Matotiyana en Maxanjana Mangaliso voor te lê. Beide kunstenaars word as gevolg van hul buitengewone musikale bekwaamhede besonder hoog aangeskryf en gerespekteer, sowel binne hul eie breë gemeenskap asook in die buiteland. Terselfdertyd poog hierdie studie om 'n bydrae te maak tot die vestiging van die sg. "experience-based" tipe etnomusikologiese veldwerk in Suid-Afrika. Dienooreenkomstig word die inligting wat deur middel van persoonlike onderhoude met Matotiyana en Mangaliso versamel is, in verhaalvorm aangebied. Dit is gebaseer op hul eie herinneringe en perspektiewe, asook hulopvattings t.o.v. hul liedere, alle aspekte van hul komposisie, hul instrumente en opvoerings. Die studie kyk gevolglik na die wisselwerking tussen die twee musici se lewens en hul musiek en bring hul eie ervarings in hierdie verband ter sprake. Verder verskaf die analitiese studie m.b.t. die liedere van Matotiyana insig in haar unieke styl en bydrae tot eietydse Xhosa boogmusiek, veral binne die breër konteks en tradisies van Xhosa musiek in die algemeen.
5
Burger, Inge Mari. "The life and work of Khabi Mngoma." Doctoral thesis, Faculty of Humanities, 1992. http://hdl.handle.net/11427/34039.
Full textAbstract:
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 Mngoma's childhood (in the township-, school-and rural environment respectively), and the musical influences of his early adulthood. Particular, reference is made to his first academic musical studies in Western classical music, and the arousing of his interest in the academic study and performance of African music. The following nine chapters describe Khabi Mngoma's cultural and music educational activities (1948 - 1990) and explore the growing recognition of him as a cultural and music educational leader in South Africa. This period of Khabi Mngoma's life and work is divided into five periods: his work in Orlando, Soweto and Johannesburg during the years of his association with the Orlando High School (1948 - 1952; the first period); the second period refers to Khabi Mngoma's Social and Cultural work for the National War Memorial Health Foundation (1953 - 1957); the third, fourth and fifth periods relate to Khabi Mngoma's cultural and educational activities associated with the periods of employment by the Johannesburg City Council (1957 - 1964; third period), Dorkay House (Union Artists) and Reckitt & Colman (1965 - 1975: simultaneous employment; fourth - period), and finally the University of Zululand (1975 - 1987; the fifth period). The fifth period continues into the years following his retirement in 1987, with his influence on a national scale continuing to be established through various significant involvements, discussed in this study. The decision to arrange Khabi Mngoma' s adult life and career into five periods needs explaining. I am aware that human endeavor can never be neatly compartmentalized, because so many aspects of such endeavour overlap. This format is not intended to imply a rigid delineation; it is derived from the chronological arrangement of my material, and is intended to guide the reader through this study.
6
Pieterse, Candice Belinda. "A case study of Kurt Donald Cobain." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1157.
Full textAbstract:
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 head (Sandford, 1995). The study is a single case research design, utilizing both qualitative and quantitative data. It aimed to explore and describe Kurt Cobain’s personality according to the Five Factor Model of Personality. He was chosen as the research subject by means of purposive sampling on the basis of the researcher’s interest and on his uniqueness and inspirational influences on the general public. Collected data was analyzed in accordance with Huberman and Miles’s (1994) general approach which consists of data reduction, data display and conclusion drawing and verification. Descriptive tables from the NEO-PI-R personality measure were further interpreted to provide quantitative information regarding the personality traits of the subject. The findings of this study suggest that Kurt Cobain portrayed a complex personality profile as an individual, and it appears that he experienced much distress and emotional instability within his life. However, he was able to provide the youth a means of expressing themselves through his music.
7
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.
Full textAbstract:
Thesis (M. Mus.)--University of Stellenbosch, 2003.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 her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. Du Toit sang in forty-five opera seasons for the Provincial Arts Councils in the seventeen years between 1963 and 1979, when her opera career ended. In 1986 she returned to the opera stage as the Marschallin in Der Rosenkavalier by Richard Strauss. This was also her final farewell as opera singer. The title role in Madama Butterfly can be regarded as her hallmark. Her stunning portrayal of Lucia in Lucia di Lammermoor was regarded as a mile stone in South African opera history, as was her interpretation of Jenůfa. She was also hailed as a Mozart singer. Not only was she regarded as one of the world’s best “Butterflies” at the International Madame Butterfly Competition in Japan in 1970, but has she also been awarded three Nederburg Opera Prizes. Apart from opera, Du Toit gave numerous recitals of classical and light classical music, regularly sang in orchestral concerts and oratorio and was active as broadcasting artist. Her work as voice teacher always ran parallel to her singing activities. Her academic career at the Universities at Stellenbosch and Cape Town spanned fourteen years: from 1980 to 1993. Nellie du Toit’s achievements in music were laureated with the Medal of Honour from the Academy of Arts and Sciences in 1986 and an Honorary Doctorate from the University of Stellenbosch in 1998.
AFRIKAANSE OPSOMMING: Wie is Nellie du Toit en wat is die omvang van haar loopbaan as sangeres en sangpedagoog? Die leemte in Suid-Afrikaanse historiografie met betrekking tot die lewe en werk van Suid- Afrikaanse uitvoerende kunstenaars het aanleiding gegee tot hierdie ondersoek na die loopbaan van Nellie du Toit. Bekend as een van Suid Afrika se vermaarde operasangeresse van die 1960’s en 1970’s wat haar loopbaan eksklusief in Suid-Afrika gemaak het, word sy ook beskou as een van die mees gesogte sangpedagoë. Haar loopbaan as uitvoerende kunstenaar het oor byna drie dekades gestrek. Haar loopbaan as sangpedagoog, ná meer as veertig jaar, gaan steeds voort. Hierdie studie ondersoek haar lewe en loopbaan chronologies, beginnende met haar jeugjare in ʼn baie musikale gesin. Haar voltydse musiekstudies aan die Suid-Afrikaanse Musiekkollege in Kaapstad het van 1950 tot 1952 geduur. Hier het Madame Adelheid Armhold, haar sangpedagoog, en Gregorio Fiasconaro, hoof van die Operaskool, ʼn stewige fondament vir haar loopbaan gelê. Na ʼn tydperk van meer as ʼn jaar in Engeland, het Nellie du Toit een van die jong Suid-Afrikaanse sangers geword wat operabaanbrekerswerk in Suid-Afrika gedoen het. Du Toit het in vyf-en-veertig operaseisoene vir die Uitvoerende Kunsterade gesing in die sewentien jaar tussen 1963 en 1979, die jaar waarin haar operaloopbaan tot ʼn einde gekom het. In 1986 het sy na die operaverhoog teruggekeer in die rol van die Marschallin in Der Rosenkavalier van Richard Strauss. Dit was ook haar finale vaarwel as operasangeres. Die titelrol in Madama Butterfly kan as Du Toit se kenteken beskou word. Haar merkwaardige uitbeelding van Lucia in Lucia di Lammermoor is beskou as ʼn mylpaal in die Suid-Afrikaanse operageskiedenis. Dit geld ook vir haar vertolking van Jenůfa. Sy was ook hoog aangeskryf as Mozart-sangeres. Nellie du Toit is as een van die wêreld se beste “Butterflies” aangewys tydens die Internasionale Madame Butterfly Kompetisie in Japan in 1970. Daarbenewens het sy in Suid-Afrika drie Nederburg Operapryse ingepalm. Afgesien van opera het Nellie du Toit talryke uitvoerings van klassieke en ligte klassieke musiek gegee en gereeld in orkeskonserte, oratoria en as uitsaaikunstenaar opgetree. Naas haar loopbaan as uitvoerder het haar aktiwiteite as sangpedagoog byna ononderbroke voortgegaan. Haar akademiese loopbaan aan die Universiteite van Stellenbosch en Kaapstad het oor veertien jaar gestrek: van 1980 tot 1993. Nellie du Toit se prestasies in musiek is bekroon met die Erepenning van die Akademie vir Wetenskap en Kuns in 1986 en ʼn eredoktorsgraad van die Universiteit van Stellenbosch in 1998.
8
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.
Full textAbstract:
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 jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
9
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.
Full text
10
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.
Full textAbstract:
Thesis ( MMus (Music))--University of Stellenbosch, 2007.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 to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.
Books on the topic "Musicians – South Africa"
1
Chilvers, Garth. History of contemporary music of South Africa. Braamfontein, South Africa: Toga Pub., 1994.
Find full text
2
Don, Albert, ed. Jazz, blues & swing: Six decades of music in South Africa. Claremont, South Africa: David Philip, 2007.
Find full text
3
Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: The University of Chicago Press, 2008.
Find full text
4
In township tonight!: South Africa's Black city music and theatre. Johannesburg: Ravan Press, 1985.
Find full text
5
Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: University of Chicago Press, 2008.
Find full text
6
Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: University of Chicago Press, 2008.
Find full text
7
Coplan, David B. In township tonight!: South Africa's Black city music and theatre. 2nd ed. Chicago: University of Chicago Press, 2008.
Find full text
8
Coplan, David B. In township tonight!: South Africa's black city music and theatre. 2nd ed. Chicago, IL: University of Chicago Press, 2008.
Find full text
9
In township tonight!: South Africa's Black city music and theatre. London: Longman, 1985.
Find full text
10
In township tonight!: Three centuries of South African black city music and theatre. 2nd ed. Auckland Park, South Africa: Jacana Media, 2007.
Find full textBook chapters on the topic "Musicians – South Africa"
1
Steingo, Gavin. "Electronic Music and the Problem of Electricity." In Audible Infrastructures, 253–73. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932633.003.0012.
Full textAbstract:
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.
2
Hill, Juniper. "Developing Creativity-Enabling Skills." In Becoming Creative, 28–66. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199365173.003.0002.
Full textAbstract:
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.
3
"Sathima Bea Benjamin as Jazz Musician." In Focus: Music of South Africa, 205–22. Routledge, 2010. http://dx.doi.org/10.4324/9780203930632-25.
Full text
4
Goldsmith, Thomas. "The Piedmont’s Rich Musical Soil." In Earl Scruggs and Foggy Mountain Breakdown, 12–21. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042966.003.0003.
Full textAbstract:
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.
5
Rapport, Evan. "“Raw Power”: Protopunk Transformations of the Blues." In Damaged, 35–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0002.
Full textAbstract:
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.
6
Magnarella, Paul J. "Life Then and Now." In Black Panther in Exile, 234–44. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066394.003.0016.
Full textAbstract:
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.
Conference papers on the topic "Musicians – South Africa"
1
Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.
Full textAbstract:
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 concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.