Thesis (MMus (Music))--Stellenbosch University, 2008. / The Libertas Choir occupies an exceptional place in the history of choral music in South Africa, especially in the Western Cape. The research on this choir is presented here in the form of a historical study, tracing the details chronologically from a politically inspired mass choir in 1986 to the founding of the Libertas Choir in 1989, and then following its history until the end of 2006. The first three chapters contain highlights of the first 17 years (1989-2006) while the subsequent chapters contain compositions specifically composed or arranged for the choir, a profile of the conductor, issues that the choir faced as well as an insight into the choir as “ambassador” for South Africa. Documenting the history of this multiracial choir in South Africa, the thesis includes an account of the contribution the choir has made to the development of music in a multicultural society as well as how it has fostered the belief that music sets no social or cultural boundaries. This study also documents the choir’s contribution to the development of multicultural choir performances. The research covers indigenous South African music that has been performed by the choir, as well as new compositions and choral arrangements that were instigated and disseminated by the choir. A selection of programmes sung by the choir during this time is included.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The goal of this study is to explore three different models that three selected university choirs chose to accommodate diversity: two choirs with different identities existing independently alongside each other on one campus (model A), one choir, implementing diversity (model B) and one choir with a Eurocentric character (model C). Each university was treated separately, collecting qualitative data to provide historical insight into the choir, to determine profiles of the relevant conductor(s) and choristers and to determine the management body’s views regarding the role of the choir(s) within the institution. Information on repertoire indicates preference for musical styles, favouring an African or Western perspective or showing measures of cultural adaptability. Data was collected from choristers, conductors, organisers and university representatives by questionnaires and personal interviews as well as historical data in the form of concert programmes of the selected university choirs. The research findings indicated that the three universities concerned chose to handle their cultural diversities in completely different ways, resulting in creating unique choral identities which are evident in aspects such as repertoire, choristers’ experience and the support from the institution.

Amakwaya refers to the tradition and performance practice of choirs in South Africa that emerged from the mission-schools in the nineteenth century and is manifest today in the annual competitions held by various Teachers' Associations or company-sponsored events like the National Choir Festival. This choral practice, combining Western music styles with African tradition, bears the marks - both social and aesthetic - of colonial and missionary influences, and is closely linked to the emerging black middle class, their process of negotiating identity, and their later quest for a national culture. Many aspects of contemporary amakwaya performance practice, it is argued, including the recent interest of many members of the amakwaya community in opera, can be understood through an analysis of the social dimensions of these choirs. Particular attention is given to the role played by competitions and the sectionalised repertoire. The criticisms made in this regard flow from an understanding of the social meaning and aesthetic thrust of the tradition, from the author's practical involvement with the choirs, and from extensive discussions with choristers and conductors. The first part of the thesis is concerned with identifying the role played by European values such as those of education and progress, in the self-understanding of the emerging missioneducated black South African elite in the second half of the nineteenth century. An initial tendency towards uncritical imitation and attempts at assimilation ended in the experience of rejection by the settler community and isolation. It was followed, in the last quarter of the nineteenth century, by a complex negotiation between traditional and modern values. With political, social and economic mobility restricted in white South Africa, the black middle class turned towards artistic expression such as choral singing in order to define and express a distinctively African concept of civilisation. In this process, amakwaya performance developed into a powerful means whereby class identity and consciousness could be constructed and communicated. The second part looks into the framework of amakwaya, and at the mission schools and colleges they attended and the competitions they organise. As a result of the practice of hymn singing, participation in a choir soon became an important part of the leisure time activities of the early mission converts. This formative phase of amakwaya is illustrated in a case study of one of the most influential schools in Natal, Adams College, near Amanzimtoti, where the first black South African School of Music was established. In order to promote the values important to the missionaries as well as their converts - discipline, progress, and success - competitions were encouraged at the mission stations. These became models for the competitions which today are the main feature of amakwaya practice. The voices of various members of the community are used to present a critical evaluation of the positive and negative aspects of present-day competitions. The last part of the thesis concentrates on amakwaya repertoire, particularly as it is represented at important choral competitions such as the National Choir Festival. This part also attempts to facilitate an understanding of the genesis, structure and aesthetic of the sectionalised repertoire, which consists of neo-traditional songs, Western compositions, and choral works composed by mission-educated musicians. Strict adherence to the sectionalised repertoire is a unique feature of amakwaya performance practice to the present day. / Thesis (Ph.D.-Music)-University of Natal, 2002.

Choral music has played an important role in the liberation of South African people, and it is still very popular today, including among Setswana-speaking choral groups. This study looks at the role of music, particularly choral music, in the expression of Setswana-speakers’ identity as well as the psychological effects on the psychosocial well-being of the choristers. A qualitative research approach, supported by in-depth interviews, was adopted in this study to better understand the singing experiences of two male choir conductors and two female choristers. For this purpose, thematic analysis technique was employed. The results indicate that singing in the choir contributes to the choristers’ physical, emotional, mental, social, and spiritual well-being as well as to their identity formation. Participants also highlighted challenges such as time constraints, poor leadership, socio-economic conditions, unforeseen circumstances, discrimination against younger members, love affairs, and gossip within the choral groups. The results indicate a positive and socially engaging contribution of choral music in the expression of identity as well as in the sense of belonging and connection of choristers. The findings are in line with the literature and indicate that participation in a choir enhances and strengthens psychosocial well-being, that is self-discipline, healthy lifestyle, self-confidence, self-esteem, motivation, physical fitness, emotional expressivity, emotional processing and stress relief, social responsibility, moral growth and development, mental alertness and focus, upliftment and inspiration, connection with God, and nurtures the community social fabric. / Psychology / M.A. (Clinical Psychology)