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Relevant bibliographies by topics / South African jazz / Dissertations / Theses

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Dissertations / Theses on the topic 'South African jazz'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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Consult the top 29 dissertations / theses for your research on the topic 'South African jazz.'

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1

Thorpe, Christopher John. "Deconstructing “the South African jazz feel”: roots, rhythms and features of South African jazz." Thesis, Rhodes University, 2019. http://hdl.handle.net/10962/76649.

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South African jazz has established itself as a distinct and influential genre in modern popular music that merges musical elements from traditional South African musics with influences from U.S.-American jazz. Formed during a time of extreme social inequality in a divided country, South African jazz became the soundtrack of the struggle against social injustice and racial oppression, and was brought to international attention by artists such as Hugh Masekela, Miriam Makeba, and Abdullah Ibrahim who gave poignant musical expression to the hardships of the time. South African jazz is celebrated

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2

Dalamba, Lindelwa Ncedisa. "Passports to jazz : the social and musical dynamics of South African jazz in Britain, 1961-1973." Thesis, University of Cambridge, 2014. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.697434.

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3

Gamedze, Asher. "It’s in the out sides: An investigation into the cosmological contexts of South African jazz." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30526.

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This dissertation is an exploration of some of the philosophical thought and spiritual practices which constitute and are present and represented in and through certain instances of South African jazz. Amilcar Cabral’s revolutionary thought on liberation culture, which allows for thinking the radical impulse of cultural production, forms the foundation of the dynamic frame which we use to hear and think through the music’s content and the context by which it is composed. Through an engagement with the thought and music of the following artists - the Blue Notes, Miriam Makeba, Malombo, Nduduzo

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4

Pyper, Brett. ""You can't listen alone"| Jazz, listening and sociality in a transitioning South Africa." Thesis, New York University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3614893.

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<p> This is a study of contemporary jazz culture in post-apartheid South Africa. It demonstrates that the significance of jazz can productively be understood from the perspective of listeners, complementing the necessary attention that has historically been afforded to the creators and performers of the music. It describes the rich social life that has emerged around the collecting and sharing of jazz recordings by associations of listeners in this country. In these social contexts, a semi-public culture of listening has been created, it is argued, that is distinct from the formal jazz recordi

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5

Miller, Robyn Lee. "The role of the saxophone embouchure in the production of the South African jazz sound : a study of nine jazz saxophone players." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11118.

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South Africa is known for having its own distinctive jazz music sound of which the saxophone is a significant feature. The saxophone has often been recognised world-wide as a symbolic jazz instrument and has also played an important role in South African jazz. As the embouchure of the saxophone is crucial to its sound production, it stands to reason that it plays a role in producing this distinctive South African jazz sonority. The purpose of this study is to understand the role of the embouchure in producing the ‘South African jazz saxophone sound’, and to find a common trend in saxophonists.

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Bruce, Emily. "The business of live music in South Africa and the jazz musician." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/6846.

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The goal of this dissertation is to investigate how the business of music operates in the live music industry of South Africa in relation to the jazz musician;; also what systems are in place that assist, protect the rights of, and provide for, the jazz musician (bearing in mind that most jazz musicians double as session musicians and dabble in various genres). Research will be conducted into what is working well within the live music industry in the UK, particularly in cities that have a rich population of active jazz performance venues and therefore, also jazz musicians. The intention for th

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7

Butete, Netsayi. "The jazz divas an analysis of the musical careers of six New Brighton vocalists." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1002298.

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There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton

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8

Msimango, Linda Nombuso Pearl. "An investigation into the relevance of formal training in music education to jazz teaching in South Africa." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7974.

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Includes bibliographical references (leaves 90-99).<br>The primary objective of the study was to investigate the necessity of equipping professional jazz teachers with general music educational principles. A sample was drawn from the students and lecturers at three selected tertiary institutions. The secondary objective was to determine who is deemed competent to teach jazz at tertiary institutions: professional players, professional players with a teacher-training qualification in jazz, or both. Three of the tertiary institutions in South Africa that offer jazz as part of their curricula were

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9

Drace, John. "Jazz travels : a portfolio of jazz compositions and arrangements of African inspiration." Thesis, 2010. http://hdl.handle.net/10413/9500.

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The pieces presented in this portfolio are in some ways a synthesis of my own musical history up to this point in time. Though I was scarcely aware as a child, I now know that the diverse strains of modem African American music and their largely non-African American inspirations originate from the larger, older branches of Jazz and Blues. Nevertheless, the music that forms the lion's share of my early musical memories-African American and African American inspired music- is still quite distinct from its West African ancestral music that I would later come to learn and love so much. After being

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10

Malinga, Joseph Mabhaca. "Towards the realisation of South African jazz assuming its righful place in the cultural identity and heritage of the country." Diss., 2015. http://hdl.handle.net/11602/286.

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11

Sepuru, Phuti. "The acquisition of jazz improvisation skills in South African jazz musicians : an IPA study." Diss., 2015. http://hdl.handle.net/2263/50779.

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The study aimed to explore and understand how six South African jazz musicians acquire and practise the skill of jazz improvisation. Formative influences and practice methods were studied with the hope of identifying factors that are unique to the South African jazz context. The study followed a qualitative research paradigm, with a collective case study design. Data were gathered through semi-structured interviews which allowed the researcher to probe issues of interest that arose during the course of the interview. The interview questions focused on the musical background, formative and ong

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12

Klug, E. (Edith). "The jazz vocal art of Kurt Elling : lessons for South African singers." Diss., 2014. http://hdl.handle.net/2263/41499.

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The dissertation researches the contemporary jazz vocalist Kurt Elling. His background, performing career and successes are explored before his artistry as a performer and pedagogue are examined in detail. A personal Skype lesson and a personal interview form part of the research material. Elling’s improvisatory art and his relationship with and opinions on scatting, and especially jazz vocalese are portrayed. To this end the author’s transcription of Elling’s vocalese based on Downtown (by Russel Ferrante) is included. Elling’s influence, creativity, spirituality and infusion of poetry into j

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13

Fleming, Tyler. ""King Kong, bigger than Cape Town" : a history of a South African musical." 2009. http://hdl.handle.net/2152/21553.

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This dissertation analyzes the South African musical, King Kong, and its resounding impact on South African society throughout the latter half of the twentieth century. A “jazz opera” based on the life of a local African boxer (and not the overgrown gorilla from American cinema), King Kong featured an African composer and all-black cast, including many of the most prominent local musicians and singers of the era. The rest of the play’s management, including director, music director, lyricist, writer and choreographer, were overwhelmingly white South Africans. This inter-racial collaboration

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14

""King Kong, bigger than Cape Town" : a history of a South African musical." Thesis, 2009. http://hdl.handle.net/2152/ETD-UT-2009-08-203.

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This dissertation analyzes the South African musical, King Kong, and its resounding impact on South African society throughout the latter half of the twentieth century. A “jazz opera” based on the life of a local African boxer (and not the overgrown gorilla from American cinema), King Kong featured an African composer and all-black cast, including many of the most prominent local musicians and singers of the era. The rest of the play’s management, including director, music director, lyricist, writer and choreographer, were overwhelmingly white South Africans. This inter-racial collaboration

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15

Dlamini, Sazi Stephen. "The South African Blue Notes : bebop, mbaqanga, apartheid and the exiling of a musical imagination." Thesis, 2010. http://hdl.handle.net/10413/480.

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During the middle decades of the twentieth century, the exiling from South Africa of jazz musicians, including The Blue Notes, brought the discourses of local jazz, its performance culture and repertoires, to international attention. This process points to jazz’s global reach and raises questions about its adoption by differently constituted cultural subjects. Arjun Appadurai’s arguments about global homogenisation and heterogenisation come into play here, and have special significance today, when the study of jazz performance and history is increasingly part of the music education of young So

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16

Stewart, Lynette Adora. "Black South African urban music styles : the ideological concepts and beliefs surrounding their development 1930-1960." Thesis, 2001. http://hdl.handle.net/2263/22921.

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The main focus of this work explores the ideological concepts surrounding the early development of South African urban music. First, a brief description of the development of some of the major urban music styles of the continent of Africa is provided. This is followed by an overview of the early development of South African urban styles, and includes definitions of the styles as they occurred chronologically up to the development of African jazz in the 1940s. Kwela is discussed as the major commercial offshoot of African jazz in the 1950s. The concepts and beliefs, or 'thought worlds', which w

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17

Rule, Darryl. "Cultural reporting and the production of cultural reviews in selected South African newspapers : A case study of jazz music and musicians." Thesis, 2008. http://hdl.handle.net/10539/5887.

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Arts reporting in the contemporary South African press seems to be in somewhat of a crisis. Although on the surface the “entertainment” and “lifestyle” supplements of the major newspapers seem to be thriving, on closer inspection, it will be found that the journalism is severely lacking in critical analysis, creativity and useful information. This research report will use the reporting of jazz found in the arts supplements of two major newspapers - THISDAY and Mail&Guardian - to investigate the production of cultural reporting, and to question the kind of messages and representations the

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18

Thusi, Nhlanhla Brian. "Jazz education for post-apartheid South Africa." Thesis, 2001. http://hdl.handle.net/10413/5190.

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This essay has two primary purposes: (1) to make a case for jazz education and (2) to suggest ways in which jazz education can more prominently and profitably feature in post-Apartheid South African education. Justifying jazz education and determining how it can best fit into South African education both require a clear conception of what jazz education is in its various forms. Thus, the essay begins by attempting a holistic definition of jazz education as education in, about, and through jazz followed by a systematic consideration of the many and varied educational outcomes jazz education is

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19

"Jazz as discourse : a contextualised account of contemporary jazz in post-apartheid Durban and Johannesburg." Thesis, 2005. http://hdl.handle.net/10413/1013.

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This study offers an ethnographically contextualised close reading of the music played by three 'jazz' groups in eight concerts held in Durban and Johannesburg between June 1994 and December 2003. These performances were videotaped and then analysed with reference to 1) the compositional and improvisational techniques employed in the creation of the performances; 2) the stage behaviour of the musicians; 3) audience behaviour, and 4) the physical contexts in which the performances occurred. The performances constitute the primary texts on which this study is based. Secondary texts, in the form

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20

Oliphant, Katlego Bridget. "Profiling of attendees at a hallmark event." Thesis, 2012. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000653.

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Thesis (M.Tech: Tourism and Hospitality Management)--Tshwane University of Technology, 2012.<br>Looks at the nature of jazz festival tourists in South Africa, their motivations, behavioural intentions and how attendees can be effectively segmented in order to guarantee visitor satisfaction and loyalty.

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21

Soodyall, Merle Chantal. "Jazz in the classroom : an interdisciplinary and intercultural means of achieving 'arts and culture' outcomes in curriculum 2005." Thesis, 1999. http://hdl.handle.net/10413/8897.

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22

Rungan, Natalie. "A portfolio of compositions and arrangements [music manuscript]." Thesis, 2002. http://hdl.handle.net/10413/4817.

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23

Naidoo, Mageshen. "A portfolio of compositions and arrangements [music manuscript]." Thesis, 2000. http://hdl.handle.net/10413/5101.

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24

Edwards, John. "Portfolio of compositions and arrangements [music manuscript]." Thesis, 2003. http://hdl.handle.net/10413/5124.

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25

Gonsalves, Neil. "A portfolio of compositions and arrangements [music manuscripts]." Thesis, 1998. http://hdl.handle.net/10413/8876.

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26

Barry, Susan. "Composition portfolio [music manuscripts]." Thesis, 1999. http://hdl.handle.net/10413/8918.

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27

Allen, Lara Victoria. "Pennywhistle kwela : a musical, historical and socio-political analysis." Thesis, 1993. http://hdl.handle.net/10413/9106.

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This thesis is an exploration of the history of the pennywhistle in black South African popular music, the most important style to evolve around this instrument being kwela music. An analysis of kwela is conducted from several perspectives: historical, musical, socio-cultural and political. Chapter I explores the urban South African musical styles which preceded and influenced kwela. The first of these genres was marabi, which developed in Johannesburg's slumyards in the first three decades of the this century. Marabi was followed by tsaba-tsaba in the late thirties, which in tum gave way to t

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28

Kou, Limpho. "Hip hop & 'Sophiatown jazz': sites of investigation for intergenerational relations approaches for applied drama practitioners in post-apartheid South Africa." Thesis, 2016. http://hdl.handle.net/10539/19881.

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MA Research Report<br>This research report is a thematic analysis of hip hop and ‘sophiatown jazz’ cultures as sites representative of the older and younger generations of South Africa. It seeks to analyze the culture, actions, behavior traits as well as music content at ‘social texts’ that can give an indication of the commonalities these generations have. It seeks to advocate for the use of applied drama and theatre principles such as ‘dialogic education’ as well as other methodologies to appeal to different groups of people in accordance with what it relevant and meaningful for them. The re

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Galane, Sello Edwin. "The music of Philip Tabane - An historical analytical study of Malombo music of South Africa." Thesis, 2010. http://hdl.handle.net/2263/24447.

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This study seeks to investigate the origin and development of the thinking, make up, evolution, meaning, impact, essence of originality, and attempts to reclaim the true identity of African music of South Africa from 1963 to date by Philip Tabane through his concept of Malombo Music. This study introduces Philip Tabane’s biographical background, and sketches out the socio political milieu in which he has had to do creative work, maps out stages of development of Malombo music, and investigates how media was bent on shaping a particular public opinion about Malombo music. The latter is juxtapos

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