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<p><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> </w:Compatibility> <w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="156"> </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal" / mso-tstyle-rowband-size:0 / mso-tstyle-colband-size:0 / mso-style-noshow:yes / mso-style-parent:"" / mso-padding-alt:0in 5.4pt 0in 5.4pt / mso-para-margin:0in / mso-para-margin-bottom:.0001pt / mso-pagination:widow-orphan / font-size:10.0pt / font-family:"Times New Roman" / mso-ansi-language:#0400 / mso-fareast-language:#0400 / mso-bidi-language:#0400 / } </style> <![endif]-->This thesis explores the ways in which Cape Town rap group Prophets of da City articulate their resistance to apartheid and, in particular, the ways in which they attempted to intervene in politicians' attempts to pacify the black electorate during the build- up to South Africa's first democratic elections. Initially, I attempt to clear a space from which one could discuss POC's work as postmodern and postcolonial. I then theorise POC's use of sampling as a postmodern strategy whilst, at the same time, pointing out that rap has its origins in the African- American tradition of Signifyin(g). Through my discussion sampling, I suggest that rap, as postmodern cultural practice, challenges concepts of originality as well as uniqueness. I also discuss POC's work as part of subculture and analyse Spike Lee's Do The Right Thing in order to explore the black artist's struggle for space* within the public sphere. Finally, I contend that both Lee and POC's texts are flawed because they marginalise gender politics. I briefly discuss Queen Latifa's rap music to suggest that the discourses of race and gender are inseparable.</p>

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This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture Rangström (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.

Magister Artium - MA / This thesis explores the ways in which Cape Town rap group Prophets of da City articulate their resistance to apartheid and, in particular, the ways in which they attempted to intervene in politicians' attempts to pacify the black electorate during the build- up to South Africa's first democratic elections. Initially, I attempt to clear a space from which one could discuss POC's work as postmodern and postcolonial. I then theorise POC's use of sampling as a postmodern strategy whilst, at the same time, pointing out that rap has its origins in the African- American tradition of Signifyin(g). Through my discussion sampling, I suggest that rap, as postmodern cultural practice, challenges concepts of originality as well as uniqueness. I also discuss POC's work as part of subculture and analyse Spike Lee's Do The Right Thing in order to explore the black artist's struggle for space* within the public sphere. Finally, I contend that both Lee and POC's texts are flawed because they marginalise gender politics. I briefly discuss Queen Latifa's rap music to suggest that the discourses of race and gender are inseparable.

This thesis explores E. M. Forster's interest in the politics of music, illustrating the importance of music to Forster's conceptions of personal relationships and imperialism, national character and literary influence, pacifism and heroism, class and amateurism. Discussing Forster's novels, short stories, essays, lectures, letters, diaries, and broadcast talks, the thesis looks into the political nuances in Forster's numerous allusions and references to musical composition, performance, and consumption. In so doing, the thesis challenges previous formalistic studies of Forster's representations of music by highlighting his attention to the contentious relations between music and political contingencies. The first chapter examines A Passage to India, considering Forster's depictions of music in relation to the novel's concern with friendship and imperialism. It explores the ways in which music functions politically in Forster's most ‘rhythmical' novel. The second chapter focuses on Forster's description of the performance of Lucia di Lammermoor in Where Angels Fear to Tread. Reading this highly crafted scene as Forster's attempt to ‘modernize' fictional narrative, it discusses Forster's negotiation of national character and literary heritage. The third chapter assesses Forster's Wagnerism, scrutinizing the conjunction between Forster's rumination on heroism and his criticism of Siegfried. The chapter pays particular attention to Forster's uncharacteristic silence on Wagner during and after the Second World War. The fourth chapter investigates Forster's celebration of musical amateurism. By analysing his characterization of musical amateurs and professionals in ‘The Machine Stops', Arctic Summer, and Maurice, the chapter discusses the gender and class politics of Forster's championing of freedom and idiosyncrasy.