Relevant bibliographies by topics / Plagiarism in music – South Africa

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  2. Dissertations / Theses
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Academic literature on the topic 'Plagiarism in music – South Africa'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Plagiarism in music – South Africa"

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Kannaiah, Desti, and T. Narayana Murty. "Retraction: Exchange rate intervention and trade openness on the global economy with reference to Brazil, Russia, India, China and South Africa (BRICS) countries." Investment Management and Financial Innovations 14, no. 3 (November 28, 2017): 339–52. http://dx.doi.org/10.21511/imfi.14(3-2).2017.05.

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Retracted on the 17th of April, 2020 by the Journal’s owner request dated April 12th 2020. The type of retraction – plagiarism. The owner of the journal was asked to retract this article because of plagiarism. The request came from the author of the dissertation, which was published a year before the publication of the article. The author insisted that there was significant plagiarism in the article that could not be adjusted. Editorial staff carried out an investigation into plagiarism in the article published. When the manuscript was submitted to the Journals for consideration, the authors signed the Cover letter and attested to the fact that their manuscript is an original research and has not been published before. After that, the manuscript was accepted for consideration by the Managing Editor and was tested for plagiarism using the iThenticate program. Plagiarism was not detected. Later, after the article complaint and the statement of plagiarism, we used all the sources and resources provided by the complainant, the article was re-tested for plagiarism, and plagiarism was established with a similarity index of 69%. According to the results of the investigation, the editorial board decided to retract the article on April 17, 2020. The authors were notified of such a decision and reported that they accept and do not dispute the retraction decision.
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Daniels, Douglas Henry, and Charles Hamm. "Afro-American Music, South Africa, and Apartheid." American Music 8, no. 1 (1990): 120. http://dx.doi.org/10.2307/3051941.

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DjeDje, Jacqueline Cogdell, Charles Hamm, and Christopher Small. "Afro-American Music, South Africa, and Apartheid." Black Perspective in Music 18, no. 1/2 (1990): 228. http://dx.doi.org/10.2307/1214893.

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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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Vaughan Williams, C. H. "The music makers: Harmonisation in South Africa." BMJ 315, no. 7099 (July 5, 1997): i. http://dx.doi.org/10.1136/bmj.315.7099.0i.

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Coplan, David B. "Aids, politics, and music in South Africa." Anthropology Southern Africa 39, no. 4 (November 30, 2016): 325–27. http://dx.doi.org/10.1080/23323256.2016.1233820.

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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 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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MURPHY, REGINA, and MARTIN FAUTLEY. "Music Education in Africa." British Journal of Music Education 32, no. 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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Shoup, John. "Pop Music and Resistance in Apartheid South Africa." Alif: Journal of Comparative Poetics, no. 17 (1997): 73. http://dx.doi.org/10.2307/521608.

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Oehrle, Elizabeth. "Education Through Music: Towards A South African Approach." British Journal of Music Education 10, no. 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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Dissertations / Theses on the topic "Plagiarism in music – South Africa"

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Highman, K. B. "Forging a new South Africa : plagiarism and the national imaginary." Thesis, University of York, 2011. http://etheses.whiterose.ac.uk/2426/.

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This thesis explores debates about plagiarism in post-apartheid South Africa, focussing on two highly-publicised cases, Antje Krog's Country of My Skull and Zakes Mda's The Heart of Redness. Through close reading, and by presenting such reading as culturally meaningful rather than forensic, I argue that in each text plagiarism acts as a contestation of cultural authority and a type of symbolic violence. Each text consciously affiliates itself to a particular literary tradition, occluding those sources that trouble the limits of these traditions, and re-appropriating cultural prestige. Re-establishing context illuminates the violent transculturations that underwrite South African cultural production and how national literatures are fields of contestation, rather than organically developing, self-contained formations. Chapter One considers the dispute between Stephen Watson and Krog over their respective poeticisations of |Xam narratives, contextualising it within a long history of appropriative white writing about indigenous peoples. Chapter Two considers Krog's alleged plagiarisms in Country of My Skull; notes other instances of unacknowledged copying; and relates Krog's borrowings to her use of testimony, arguing that a number of testimonies are fictionalised, and that Krog's borrowings and fictionalisations work together to lend her text a first-hand authenticity marked as specifically African. Chapter Three considers Mda's alleged plagiarism of Jeff Peires's The Dead Will Arise and notes how, contrary to Mda's claim that there is no written record for the Khoikhoi stories he retells in his novel, there is one, Theophilus Hahn's Tsuni-||Goam. Mda's borrowings serve to reinscribe an originary Xhosa identity, relatively uninflected by Christian,colonial influence, and to affiliate his work with African orature, rather than print culture. The afterword comments on the wider cultural and ethical implications of plagiarism; the ‘counter-narratives' that Krog and Mda's borrowings reveal; and the relationship of their borrowings to the metaphorical 'forging' of a 'new' South Africa in post-apartheid authorship.
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Steltzner, Becky L. "The history of the clarinet in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.

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This thesis explores and traces the history of the clarinet in South Africa. After discussing the problems of researching western European music history in South Africa from the arrival of the Dutch in 1652, and briefly summarising that music history up to the first clarinet reference, the thesis goes through the existing clarinet references. These have been sourced from travellers' journals, newspapers, military histories, other theses, etc., with particular emphasis on the 19th century, since the clarinet was introduced to South Africa near the beginning of it, and the most unknown part of the clarinet's South African history is within it. The references are noted, discussed, and where possible, the performers' biographical details are given and discussed. This carries through to the beginning of the 20th century, at which point South Africa got its first professional symphony orchestra, and first College of Music. From here, the clarinet is deemed to be more readily available, so at this point, the focus changes to South African compositions for clarinet. Finally, a case study is done on Ali-Ben-Sou-Alle, who was the first clarinet soloist to visit South Africa, as well as one of the most interesting and mysterious characters encountered in this research.
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Holden, Carolyn. "Flamenco in South Africa: outsider in two places." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11440.

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This dissertation interrogates the notion of flamenco identity in order to establish a case for the existence of a legitimate flamenco identity outside of Spain, and specifically in South Africa. Verification of the existence of a legitimate flamenco sub-culture in South Africa would add gravitas to the practise of flamenco by South Africans (as well as other outsiders across the globe), helping to shift the unspoken parameters governing who has the right to teach and perform flamenco, and which criteria might be used to decide this.
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Sentleng, Mapule Patricia. "Plagiarism among undergraduate students in the Faculty of Applied Science at a South African higher education institution." Thesis, University of the Western Cape, 2010. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_9720_1308303157.

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The purpose of this study was to investigate plagiarism among undergraduate students at a higher education institution in South Africa. There is evidence from previous studies that plagiarism is increasing world wide among higher education students. The emergence of the Internet has made plagiarizing worse as students can easily copy and paste information from the World Wide Web. This study investigated the occurrence, causes and trends of plagiarism among students in the Faculty of Applied Science at a higher education institution. It also examines student awareness of institutional policies and guidelines regarding plagiarism.

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Beer, Luzaan. "Music education in the foundation phase." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.

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Music education is an essential aspect of education. The South African school curriculum for the Creative Arts combines dance, drama, music and the visual arts. The curriculum uses a combination of the theories of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. Each of these music theorists and educationists have their own distinctive approach to teaching music. This study explores the theories of music education of Carl Orff, Emile Jaques-Dalcroze and Zoltán Kodály. These theories are applied in a critical analysis of both the South African curriculum and the curriculum of New South Wales. The researcher developed music activities to address the shortcomings of both the South African curriculum and the music texts.
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Fourie, Lise. "Music Therapy in Tshwane, South Africa : music therapists’ experiences and other professionals’ perceptions." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36759.

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In South Africa music therapy as a profession is still in its infancy and not yet firmly established, hence music therapists have struggled in the past to secure full-time employment. It is important to ascertain the current state of music therapy in Tshwane as this will offer suggestions about what needs to be addressed in the future. In this project two research questions were explored: 1. What are the experiences of music therapists, as well as the perceptions of other professionals working in the health and education sectors in Tshwane, regarding music therapy as a profession? 2. What do these experiences and perceptions suggest about the current state of the music therapy profession in Tshwane? This research project used questionnaires to generate data pertaining to the experiences of music therapists and perceptions of allied professionals about the music therapy profession in Tshwane. The experiences of music therapists currently practising in Tshwane shed light on the present situation of music therapy in Tshwane. The allied professionals’ perceptions of music therapy had implications regarding the recognition of the profession which impacts directly on the availability of jobs, funding and resources available to music therapists. Questionnaires generated both quantitative and qualitative data through the use of closed questions that were analysed using descriptive statistics that were generalised and openended questions analysed through the process of coding and categorising for emerging themes that were discussed. Results obtained from the questionnaires indicated that not enough is being done to promote the field as music therapist respondents (n=4) do not create or set up new music therapy employment. This accounts for the fact that at present other professionals working in the health and education sectors (n=27) have a varied understanding of what music therapy comprises. Because of this varied understanding music therapy is not always valued by these professionals. Collaboration with allied professionals was an important theme which recurred throughout the data and seems to have been the most successful way of furthering the profession so far in Tshwane. By promoting music therapy, especially through collaboration with others, awareness of music therapy should be enhanced, others’ knowledge and understanding of music therapy may be expanded and music therapy may ultimately find its valued place among other therapeutic interventions.
Mini Dissertation (MMus)--University of Pretoria, 2009.
gm2014
Music
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De, Jongh Martha Susanna. "A national electronic database of special music collections in South Africa." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2370.

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Thesis (MMus (Music))--University of Stellenbosch, 2009.
In the absence of a state-sponsored South African archive that focuses on collecting, ordering, cataloguing and preserving special music collections for research, the Documentation Centre for Music (DOMUS) was established in 2005 as a research project at the University of Stellenbosch. Music research in South Africa is often impeded by inaccessibility of materials, staff shortages at archives and libraries, financial constraints and time-consuming ordering and cataloguing processes. Additionally there is, locally, restricted knowledge of the existence, location and status of relevant primary sources. Accessibility clearly depends on knowing of the existence of materials, as well as the extent to which collections have been ordered and catalogued. An overview of repositories such as the Nasionale Afrikaanse Letterkundige Museum and Navorsingsentrum (NALN), the now defunct National Documentation Centre for Music and the International Library of African Music (ILAM) paints a troubling picture of archival neglect and disintegration. Apart from ILAM, which has a very specific collecting and research focus, this trend was one that ostensibly started in the 1980s and is still continuing. It could be ascribed to a lack of planning and forward thinking under the previous political dispensation, aggravated by policies of transformation and restructuring in the current one. Existing sources supporting research on primary materials are dated and not discipline-specific. Thus this study aims to address issues of inaccessibility of primary music materials by creating a comprehensive and ongoing national electronic database of special music collections in South Africa. It is hoped that this will help to alert researchers to the existence and status of special music collections housed at various levels of South African academic and civil society.
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Nkabinde, Thulasizwe. "Indigenous features inherent in African popular music of South Africa." Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.

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A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997.
The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
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Muller, Stephanus Jacobus van Zyl. "Sounding margins : musical representations of white South Africa." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326962.

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Theron, Talita. "Music therapy in South Africa music therapists' perceptions of training needs for current practice /." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.

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Books on the topic "Plagiarism in music – South Africa"

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Muller, Carol Ann. Focus: Music of South Africa. 2nd ed. New York: Routledge, 2008.

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Hugo, Elsbeth. Effective music education in South Africa. Pretoria: Human Sciences Research Council, 1993.

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Focus on music of South Africa. 2nd ed. New York: Routledge, 2008.

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Hauptfleisch, Sarita. Effective music education in South Africa. Pretoria: Human Sciences Research Council, 1993.

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

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AIDS, politics, and music in South Africa. New York: Cambridge University Press, 2011.

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Afro-American music, South Africa, and apartheid. Brooklyn, N.Y: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1988.

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S, Levy Michael. Music in South Africa: SAMRO information leaflet. Johannesburg, South Africa: Southern African Music Rights Organisation, 1995.

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(Firm), Drumcafé, ed. The Drumcafé's traditional music of South Africa. Johannesburg, South Africa: Jacana, 2005.

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Dare, Valerie. Music of South Africa: Rhythms of resistance. Vancouver, BC: Britannia World Music Program, 1996.

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Book chapters on the topic "Plagiarism in music – South Africa"

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Miller, Terry E., and Andrew Shahriari. "Sub-Saharan Africa: Ghana, Nigeria, Central Africa, Zimbabwe, Uganda, Senegal, South Africa." In World Music, 299–340. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-10.

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Mazzola, Guerino, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, and William Neace. "The Role of Music in the Diversifying Cultures (Africa, East Asia, South Asia)." In The Future of Music, 183–86. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39709-8_20.

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Namusanya, Dave Mankhokwe. "Popular Culture and Representations of Addiction: Understanding Malawi Urban Music in the Narratives of Drugs and Sex." In Addiction in South and East Africa, 125–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13593-5_8.

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Okigbo, Austin C. "Music and the Politics of Culture in a South African Zulu HIV/AIDS Experience: Implications for “Post-Apartheid” Discourse." In Contemporary Africa, 175–90. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137444134_8.

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Pietilä, Tuulikki. "Play and Irony in the Kwaito Music of Postapartheid South Africa." In The Routledge Companion to Popular Music and Humor, 124–31. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351266642-18.

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Smurthwaite, Michael, and Lyton Ncube. "Networked audiences and the politics of participation in commercial music radio in South Africa." In Radio, Public Life and Citizen Deliberation in South Africa, 217–32. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Routledge contemporary South Africa: Routledge, 2021. http://dx.doi.org/10.4324/9781003027744-16.

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Odendaal, Albi. "Structure and Fragmentation: The Current Tensions and Possible Transformation of Intercultural Music Teacher Education in South Africa." In Visions for Intercultural Music Teacher Education, 149–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21029-8_10.

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Donaldson, Ronnie, and Henry Duckitt. "Geographies and branding impacts of non-metropolitan music festivals in the Western Cape province of South Africa." In Urban Events, Place Branding and Promotion, 141–61. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge contemporary perspectives on urban growth: Routledge, 2019. http://dx.doi.org/10.4324/9780429424847-8.

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Coplan, David B. "Popular Music in South Africa." In The Garland Handbook of African Music, 406–28. Routledge, 2010. http://dx.doi.org/10.4324/9780203927878-36.

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"Sub-Saharan Africa: Ghana, Nigeria, Central Africa, Zimbabwe, Uganda, Senegal, The Republic of South Africa." In World Music, 352–401. Routledge, 2013. http://dx.doi.org/10.4324/9780203152980-15.

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Conference papers on the topic "Plagiarism in music – South Africa"

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Dalamba, Lindelwa. "Popular music, folk music, African music: King Kong in South Africa and London." In Situating Popular Musics, edited by Ed Montano and Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.13.

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Ajoodha, Ritesh, Richard Klein, and Benjamin Rosman. "Single-labelled music genre classification using content-based features." In 2015 Pattern Recognition Association of South Africa and Robotics and Mechatronics International Conference (PRASA-RobMech). IEEE, 2015. http://dx.doi.org/10.1109/robomech.2015.7359500.

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Marsden, Marc, and Ritesh Ajoodha. "Algorithmic Music Composition Using Probabilistic Graphical Models and Artificial Neural Networks." In 2021 Southern African Universities Power Engineering Conference/Robotics and Mechatronics/Pattern Recognition Association of South Africa (SAUPEC/RobMech/PRASA). IEEE, 2021. http://dx.doi.org/10.1109/saupec/robmech/prasa52254.2021.9377235.

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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.

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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 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.
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