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 juxtaposed against Philip Tabane’s own philosophy of music making. The research further investigates what Tabane’s own definition of Malombo is. Primary and secondary sources of data are consulted, including a collection of primary data drawn from continuous dialogue with Dr Philip Tabane himself from 1990 to 2008, and getting to do media scan of public statements made in interviews with journalists. One on one discussions were held with Dr Philip Tabane in order to understand and verify popular views held about him and about his work. Secondary sources included newspaper articles, journals, policy documents, and internet survey. Findings of this research are a record of Philip Tabane’s life, discography; philosophy; compositions; key debates on the management of heritage; rights and ownership of intellectual property in South Africa; analysis of Tabane’s compositional and stylistic format; Tabane’s national and international profile; and suggestions for the development of true national heritage and culture. Above all the research findings will help in providing necessary understanding of South African music history, especially future challenges on concept development in music, ownership and rights, recommended amendments to the existing legislative framework that governs broadcast and copyrights, as well as the very history of one of the least celebrated but honoured son of the soil, Dr Philip Nchipi Tabane. Additional information available on a CD, DVD stored at the Merensky Library on Level 3 Copyright / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

The traditional healing practices of the Vhavenda people include one very important component, the malombo ritual healing practice. This healing practice has been conducted for centuries. It involves the use of music (including singing and the use of drums and shakers for rhythm), dance and elements of theatre performed by the person to be healed, the healer, invited malombe (community members who have been through the same ritual), as well as family members and supporters. The importance of this ritual as a healing process has long been acknowledged. Of interest in this study, however, is the role-played by the music itself in facilitating the healing process. The ritual cannot take place without the music; neither is the music used outside this specific ritual. Seven representative malombo songs have been partially notated by John Blacking and N. J. van Warmelo also as recorded texts. However, since this ritual is closed and seldom open to strangers, their research was, of necessity, limited. Through long-term fieldwork, and from an insider perspective, this thesis is based on participation in more than fifteen malombo rituals during the field research period (2005-2014). Songs and performances were recorded as possible and some are included on the accompanying CD. In addition, transcription was utilized as a tool to demonstrate the core melody of selected songs, with the acknowledgement that transcription in Western notation limits the demonstration of the creative mato1 process that is fundamental to the malombo ritual. This thesis argues that that music plays a vital role in this healing ceremony, and it is through the mato process that the ancestors are called to heal. The texts of the songs at times include words of the Tshikalanga language that is spoken by the Vhakalanga of Zimbabwe. Most significantly, music is seen as the bridge between the ancestral spirits and the patient and participants in the ceremony, thus underscoring its fundamental importance in Vhavenda culture. / Thesis (DMus)--University of Pretoria, 2017. / SAMRO / Music / DMus / Unrestricted