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Books on the topic 'Musicians – South Africa'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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2

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

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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.

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Coplan, David B. In township tonight!: Musique et thèâtre dans les villes noires d'Afrique du sud. Paris: Karthala, 1992.

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12

Of exile and music: A twentieth century life. West Lafayette, IN: Purdue University Press, 2010.

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13

Bea, Benjamin Sathima, ed. Musical echoes: South African women thinking in jazz. Durham: Duke University Press, 2011.

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14

The story of South African jazz. Durban, South Africa: Afribeat, 2013.

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15

Shaw, Jonathan G. The South African music business. 2nd ed. Johannesburg, South Africa: ada enup cc., 2007.

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16

Vita, Murray La. Gesprekke met merkwaardige mense. Kaapstad: Tafelberg, 2011.

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17

Stars, bars & guitars: A journey in South African music. Cape Town: Struik, 2008.

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18

Makeba, Miriam. Makeba: My story. New York: New American Library, 1988.

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19

Makeba, Miriam. Makeba: My story. London: Bloomsbury, 1988.

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20

Makeba, Miriam. Myriam Makeba: Une voix pour l'Afrique. Abidjan: Nouvelles éditions africaines, 1988.

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21

Makeba, Miriam. Makeba: The Miriam Makeba story. Johannesburg, South Africa: STE Publishers, 2004.

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22

Seeger, Pete. Abiyoyo: Based on a South African lullaby and folk story. New York: Simon & Schuster Books for Young Readers, 2001.

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23

ill, Hays Michael 1956, ed. Abiyoyo: Based on a South African lullaby and folk story. 2nd ed. New York: Aladdin Paperbacks, 2005.

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24

ill, Hays Michael 1956, ed. Abiyoyo: Based on a South African Lullaby and folk story. New York: Aladdin Books, 1994.

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25

Seeger, Pete. Abiyoyo: Based on a South African lullaby and folk story. New York: Macmillan, 1986.

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26

Seeger, Pete. Abiyoyo: Based on a South African lullaby and folk story. New York: Macmillan, 1986.

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27

Seeger, Pete. Abiyoyo: Based on a South African lullaby and folk story. New York: Scholastic, 1989.

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28

ill, Bootman Colin, ed. Hey, Charleston! Minneapolis: Carolrhoda Books, 2011.

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29

Seeger, Pete. Abiyoyo: Based on a South African lullaby and folk story : [Pete Seeger's storysong]. New York: Simon & Schuster Books for Young Readers, 2001.

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30

Daly, Niki. Welcome to Zanzibar Road. New York: Clarion Books, 2006.

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31

The music of black Americans: A history. 3rd ed. New York: Norton, 1997.

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32

The music of black Americans: A history. 3rd ed. New York, NY: Norton, 1997.

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33

Soweto Blues: Jazz, Popular Music, And Apolitics in South Africa. Continuum International Publishing Group, 2005.

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34

Soweto Blues: Jazz, Popular Music, and Politics in South Africa. Continuum International Publishing Group, 2004.

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35

Born to Kwaito. Blackbird Books, 2018.

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36

Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa. University of Chicago Press, 2016.

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37

Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa. University of Chicago Press, 2016.

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38

Martin, Denis-Constant. Sounding the Cape: Music, Identity and Politics in South Africa. African Minds, 2013. http://dx.doi.org/10.47622/978-1-920489-82-3.

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For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an ìidentityî which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social --in this case pseudo-racial --identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape Town, deploying analytical tools borrowed from the most recent studies of identity configurations. He demonstrates that musical creation in the Mother City, and in South Africa, has always been nurtured by contacts, exchanges and innovations whatever the efforts made by racist powers to separate and divide people according to their origin. Musicians interviewed at the dawn of the 21st century confirm that mixture and blending characterise all Cape Town's musics. They also emphasise the importance of a rhythmic pattern particular to Cape Town, the ghoema beat, whose origins are obviously mixed. The study of music demonstrates that the history of Cape Town, and of South Africa as a whole, undeniably fostered creole societies. Yet, twenty years after the collapse of apartheid, these societies are still divided along lines that combine economic factors and 'racial'categorisations. Martin concludes that, were music given a greater importance in educational and cultural policies, it could contribute to fighting these divisions and promote the notion of a nation that, in spite of the violence of racism and apartheid, has managed to invent a unique common culture.

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39

Coplan, David B. In Township Tonight!: South Africa's Black City Music and Theatre, Second Edition (Chicago Studies in Ethnomusicology). 2nd ed. University Of Chicago Press, 2008.

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40

In Township Tonight!: South Africa's Black City Music and Theatre, Second Edition (Chicago Studies in Ethnomusicology). 2nd ed. University Of Chicago Press, 2008.

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41

Coplan, David B. In Township Tonight! Ravan Press, 1996.

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42

Walton, Chris. Unsung - South African Jazz Musicians under Apartheid. Edited by Chatradari Devroop. SUN MeDIA Stellenbosch, 2007. http://dx.doi.org/10.18820/9781920109677.

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43

Chatradari, Devroop, and Walton Chris 1963-, eds. Unsung: South African jazz musicians under apartheid. Stellenbosch (South Africa): Sun Press, 2007.

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44

Drewett, Michael. Exploring Transitions in Popular Music. Edited by Patricia Hall. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.1.

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This article examines the censorship of popular music in South Africa during the apartheid (1948–1994) and post-apartheid years, as well as changes in musical censorship resulting from the country’s transition to democracy. It considers the different forms of censorship in South Africa, paying particular attention to central government mechanisms of music censorship through the former Directorate of Publications and the South African Broadcasting Corporation. Despite the relaxation of formal mechanisms of censorship since the early 1990s and the significant freedom of expression enjoyed by musicians, the article shows that regulation and censorship of popular music remain in effect. Finally, it assesses the current situation with regards to musical censorship in South Africa and the implications of present legislation for the future.

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45

Lilley, Andrew K. The Artistry of Bheki Mseleku. African Minds, 2020. http://dx.doi.org/10.47622/9781928331667.

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Bheki Mseleku is widely regarded as one of the most gifted, technically accomplished and emotionally expressive jazz musicians to have emerged from South Africa. His individualistic and eclectic sound draws on American, classical and township influences. He had no apparent formal music training and grew up in a poor village on the outskirts of Durban where, at the fairly late age of seventeen, he discovered that he had an innate ability to play. He has become a key inspiration for aspiring young South African jazz musicians and has left an infinite source of knowledge to draw on. The Artistry of Bheki Mseleku is an in-depth study of the Mselekus compositional works and improvisational style. The annotated transcriptions and analysis bring into focus the exquisite skill and artistry that ultimately caught the eye of some of the most celebrated international jazz musicians in the world.

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46

Muller, Carol Ann, and Sathima Bea Benjamin. Musical Echoes: South African Women Thinking in Jazz. Duke University Press, 2011.

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47

André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.

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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.

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48

Schlabach, Elizabeth Schroeder. From Black Belt to Bronzeville. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037825.003.0001.

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This chapter traces the complex interplay of race, geography, and cultural criticism that permeated the Renaissance as a whole. Beginning with the categorization of the neighborhood as the Black Belt and ending with heralding itself as “Bronzeville,” the chapter examines the interaction of newly arrived migrants with previously settled African Americans that bloomed into an exciting community. It specifically analyzes two popular intersections in the South Side of Chicago—the “Stroll” district (the intersection of 35th and State Streets) during the early 1920s, and the intersection at 47th and South Parkway. This intersection, along with the Stroll, served as foundations and sources of work for famed African American musicians, artists, and writers, such as Richard Wright, Langston Hughes, and Gwendolyn Brooks.

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49

Makeba, Miriam. Makeba: My story. Johannesburg, Skotaville Pub, 1988.

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50

Mwamuka, Nomsa, and Miriam Makeba. Makeba: The Miriam Makeba Story. STE Publishers, 2004.

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