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

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Glenn, Ian. "Begging, borrowing, stealing: The context for media plagiarism in twenty-first century South Africa." Critical Arts 20, no. 1 (July 2006): 122–31. http://dx.doi.org/10.1080/02560040608557781.

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12

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

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13

Erlmann, Veit. "’Africa civilised, Africa uncivilised’: local culture, world system and South African music." Journal of Southern African Studies 20, no. 2 (June 1994): 165–79. http://dx.doi.org/10.1080/03057079408708394.

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14

Oehrle, Elizabeth. "Challenges in Music Education Facing the New South Africa." British Journal of Music Education 15, no. 2 (July 1998): 149–54. http://dx.doi.org/10.1017/s0265051700009293.

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

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15

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

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16

Bosch, Tanja Estella. "Commercial music radio, race and identity in South Africa." Media, Culture & Society 36, no. 7 (July 8, 2014): 901–15. http://dx.doi.org/10.1177/0163443714536076.

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17

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.

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

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18

Oerhle, Elizabeth. "The Talking Drum:Towards the dissemination of musics in South Africa." Journal of the Musical Arts in Africa 10, no. 1 (December 2013): 135–38. http://dx.doi.org/10.2989/18121004.2013.846991.

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19

Coplan, David, and Veit Erlmann. "Iscathamiya: Zulu Workers Choirs in South Africa." Ethnomusicology 34, no. 2 (1990): 352. http://dx.doi.org/10.2307/851709.

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20

Spencer, Piers. "ISME Conference Pretoria, South Africa 19–26 July 1998." British Journal of Music Education 15, no. 3 (November 1998): 235–38. http://dx.doi.org/10.1017/s0265051700003910.

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21

Erasmus, Zimitri, and Nadège Ragaru. "Sounding the Cape : Music, Identity and Politics in South Africa." Critique internationale N° 67, no. 2 (2015): 179. http://dx.doi.org/10.3917/crii.067.0179.

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22

Phakathi, Mlungisi. "The role of music in combating xenophobia in South Africa." African Renaissance 16, no. 3 (September 17, 2019): 123–45. http://dx.doi.org/10.31920/2516-5305/2019/v16n3a7.

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23

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

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24

Pavlicevic, Mercédès. "Taking music seriously: Sound thoughts in the newer South Africa." Muziki 1, no. 1 (January 2004): 3–19. http://dx.doi.org/10.1080/18125980408529729.

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25

Pype, Katrien. "Sounding the Cape: Music, identity and politics in South Africa." Canadian Journal of African Studies / Revue canadienne des études africaines 49, no. 3 (September 2, 2015): 545–46. http://dx.doi.org/10.1080/00083968.2015.1071087.

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26

Gregory, Jonathan. "Sounding the Cape: Music, Identity and Politics in South Africa." Journal of the Musical Arts in Africa 12, no. 1-2 (July 3, 2015): 115–18. http://dx.doi.org/10.2989/18121004.2015.1129163.

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27

Sey, James. "Psychoanalysis and South Africa." American Imago 55, no. 1 (1998): 3–8. http://dx.doi.org/10.1353/aim.1998.0007.

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28

Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28–30. http://dx.doi.org/10.1017/s0047160700502327.

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

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29

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

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30

DE JONG, NANETTE, and KING MADZIKANE II THANDISZWE DIKO. "Maskanda, Umkhosi wokukhahlela and the Articulation of Identity in South Africa." Journal of the Royal Musical Association 145, no. 1 (May 2020): 167–90. http://dx.doi.org/10.1017/rma.2020.8.

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

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31

Woodward, Sheila C., Julia Sloth-Nielsen, and Vuyisile Mathiti. "South Africa, the arts and youth in conflict with the law." International Journal of Community Music 1, no. 1 (August 24, 2007): 69–88. http://dx.doi.org/10.1386/ijcm.1.1.69_0.

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32

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

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33

van Zyl, Silvia. "Audiation, aural training and the visually impaired pianist in South Africa." Journal of the Musical Arts in Africa 15, no. 1-2 (July 3, 2018): 119–30. http://dx.doi.org/10.2989/18121004.2018.1556897.

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34

Muller, Stephanus. "A COMPOSER IN AFRICA: AN INTERVIEW WITH STEFANS GROVÉ." Tempo 61, no. 240 (April 2007): 20–27. http://dx.doi.org/10.1017/s0040298207000101.

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

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35

Buis, Johann S., and Veit Erlmann. "Nightsong: Performance, Power, and Practice in South Africa." Ethnomusicology 42, no. 1 (1998): 157. http://dx.doi.org/10.2307/852834.

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36

Highman, Kate. "Forging a New South Africa: Plagiarism, Ventriloquism and the ‘Black Voice’ in Antjie Krog'sCountry of My Skull." Journal of Southern African Studies 41, no. 1 (January 2, 2015): 187–206. http://dx.doi.org/10.1080/03057070.2015.991595.

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37

Lobley, Noel. "Kwaito’s promise: music and the aesthetics of freedom in South Africa." Ethnomusicology Forum 27, no. 3 (September 2, 2018): 368–70. http://dx.doi.org/10.1080/17411912.2018.1543609.

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38

Buis, Johann. "Black American Music and the Civilized-Uncivilized Matrix in South Africa." Issue: A Journal of Opinion 24, no. 2 (1996): 28. http://dx.doi.org/10.2307/1166842.

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39

Durham, Deborah, and Veit Erlmann. "Music, Modernity, and the Global Imagination: South Africa and the West." African Studies Review 42, no. 3 (December 1999): 202. http://dx.doi.org/10.2307/525279.

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40

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

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41

Dalamba, Lindelwa. "Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa." Muziki 14, no. 2 (July 3, 2017): 129–33. http://dx.doi.org/10.1080/18125980.2017.1393195.

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42

Perullo, Alex. "Kwaito’s promise: music and the aesthetics of freedom in South Africa." Popular Music and Society 41, no. 4 (July 24, 2018): 468–69. http://dx.doi.org/10.1080/03007766.2018.1492687.

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43

Plageman, Nate. "Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa." Canadian Journal of African Studies / Revue canadienne des études africaines 52, no. 3 (April 30, 2018): 382–84. http://dx.doi.org/10.1080/00083968.2018.1460238.

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44

Muller, Carol A., and Louise Meintjes. "Sound of Africa! Making Music Zulu in a South African Studio." International Journal of African Historical Studies 36, no. 2 (2003): 449. http://dx.doi.org/10.2307/3559399.

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45

Sarkissian, Margaret, and Veit Erlmann. "Music, Modernity, and the Global Imagination: South Africa and the West." Ethnomusicology 45, no. 2 (2001): 355. http://dx.doi.org/10.2307/852680.

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46

SHANNON, JONATHAN H. "Sound of Africa! Making Music Zulu in a South African Studio." American Anthropologist 106, no. 2 (June 2004): 395–96. http://dx.doi.org/10.1525/aa.2004.106.2.395.

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47

Lwanga, Charles. "Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa." Eastern African Literary and Cultural Studies 6, no. 1 (November 3, 2019): 78–81. http://dx.doi.org/10.1080/23277408.2019.1662270.

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48

Impey, Angela. "Music, Modernity, and the Global Imagination: South Africa and the West." American Ethnologist 27, no. 2 (May 2000): 490–91. http://dx.doi.org/10.1525/ae.2000.27.2.490.

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49

Davies, J. Q. "Melodramatic Possessions: The Flying Dutchman, South Africa, and the Imperial Stage, ca. 1830." Opera Quarterly 21, no. 3 (January 1, 2005): 496–514. http://dx.doi.org/10.1093/oq/kbi058.

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50

Wittenberg, Hermann. "Reflections on Literary Studies in South Africa." Matatu 50, no. 1 (June 14, 2018): 208–27. http://dx.doi.org/10.1163/18757421-05001006.

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AbstractZakes Mda is not only one of South Africa’s most significant post-apartheid novelists, but has worked in diverse media such as theatre, film, opera, painting and music. His prolific creativity in forms other than the novel needs to be taken into account when evaluating his writings. This article proposes an intermedial analysis of Black Diamond (2009), a novel which has largely been given unfavourable critical attention, and suggests that it needs to be considered as a mixed medial text that is shaped by a cinematic mode of narration. The novel is also re-interpreted in the light of a postcolonially inflected “surface reading,” which makes the pervasive visuality of Mda’s prose visible. Finally, it is argued that texts such as Black Diamond raise questions about the interpretive methodologies and reading practices in English literary studies, pointing to future challenges and opportunities in the discipline.

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