Thesis (MMus)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: Community Music is a vibrant and growing field within the South African context and exists across various practices and settings. Community Music Programs in the Western Cape and more specifically the greater Cape Town area, are on the rise and often serve as outreach and educational initiatives to uplift participants from previously and currently disadvantaged communities by engaging in various musical activities. Though many Community Music Programs start successfully they fail to be sustainable due to various factors which are often never documented. Programs which include more formal aspects of music education such as those that function as Community Music Schools, experience unique successes and challenges that serve as factors which contribute towards their sustainability. Two Community Music Programs whose roots were established in outreach and whose goals also include that of providing quality music education are the Athlone Academy of Music and the Western Cape Music Education Project, which serve as case studies for this thesis. Both programs have evolved from outreach projects to currently serving as Community Music Schools within their respective areas of Athlone and Kuils River and have proven to be major contributors to the landscape of music education in the greater Cape Town area. Their contribution stems not only from their continued existence for almost two decades and their output of successful current and past students, but they also provide researchers with opportunities to document aspects of Community Music within the South African context. The Athlone Academy of Music and the Western Cape Music Education Project, in existence for twenty and eighteen years respectively, have witnessed significant changes to their infrastructure, management, and funding since the last studies conducted on them in 2009, and have continued to exist in a competitive funding environment which constantly poses a threat to their sustainability. Although both programs are faced with distinct funding shortages, their continued existence has shown that factors that contribute towards sustainability may not be related to funding. This study documents the current situation of both case studies, describing their challenges and successes from the viewpoint of key stakeholders. To achieve the objective of this research, qualitative methods of data collection were used and included semi-structured interviews, field notes and observations. The study established that there are multiple factors that influence the sustainability of the two Community Music Schools. Another important result is that this study provides documentation on the evolution of two established Community Music Schools as well as information vital to gaining a better understanding of the successes and challenges of such programs and their links to factors of sustainability. The results of this study provide opportunities for further areas of research regarding Community Music in the South African context. Keywords: Sustainability, Interaction, Community Music, Community Music School, funding, successes, challenges, project leaders, teachers, partnerships. Stellenbosch University https://scholar.sun.ac.za / Gemeenskapsmusiek is ‘n florerende en ontwikkelende veld binne die Suid-Afrikaanse konteks en strek oor verskeie praktyke en omgewings. GMPe in die Wes-Kaap, en meer spesifiek die groter Kaapstad-gebied, is besig om op die voorgrond te tree en dien telkens as uitreikings- en opvoedkundige inisiatiewe om diegene van voorheen en tans benadeelde gemeenskappe deur middel van betrokkenheid in verskeie musiekaktiwiteite, op te hef. Alhoewel talle GMPe aanvanklik suksesvol is, is die sukses onvolhoubaar weens verskeie faktore wat dikwels nie gedokumenteer is nie. Programme wat meer formele aspekte van musiekopvoedkunde insluit, soos programme wat as GMSe funksioneer, ondervind unieke suksesse en uitdagings wat as faktore wat tot hul volhoubaarheid bydra. Twee GMPe wie se ontstaan in uitreiking gegrond is, en wie se doelwitte ook die voorsiening van gehalte musiekopvoedkunde insluit, is die Athlone Academy of Music en die Western Cape Music Education Project, wat as gevallestudies vir hierdie tesis dien. Beide programme het vanuit uitreikingsprojekte ontwikkel en dien tans as GMSe binne hul onderskeie gebiede van Athlone en Kuilsrivier en het sodoende 'n groot bydrae tot die landskap van musiekopvoedkunde in die breër Kaapstad-gebied verskaf. Hierdie bydrae spruit nie slegs uit hul voortbestaan van byna twee dekades, asook die sukses van hul oud - en huidige studente nie, maar hulle bied ook aan navorsers die geleentheid om GM binne die SA konteks aante teken. Die Athlone Academy of Music en die Western Cape Music Education Project, in bestaan vir twintig en agtien jaar onderskeidelik, het sedert die laaste studies wat in 2009 behartig is, belangrike veranderinge tot hul infrastruktuur, bestuur en befondsing ondergaan, en het te midde van 'n mededingende omgewing in terme van befondsing, wat voortdurend 'n bedreiging vir hul volhoubaarheid inhou, voortbestaan. Alhoewel beide programme met onmiskenbare gebrek aan befondsing gekonfronteer word, dien hul voortbestaan as bewyse dat die faktore wat tot hul volhoubaarheid bydra ook nie noodwendig met befondsing verband hou nie. Hierdie studie dokumenteer die huidige situasie van beide gevallestudies waarin hul uitdagings en suksesse vanuit die oogpunt van die belanghebbendes beskryf word. Om die doel van hierdie navorsing te bereik is kwalitatiewe metodes van data-insameling gebruik wat semi-gestruktureerde onderhoude, veldnotas en waarneming ingesluit het. Deur van hierdie metode gebruik te maak het die studie vasgestel dat verskeie faktore die volhoubaarheid van die twee GMSe kan beïnvloed. Nog 'n belangrike uitkoms van die navorsing is dat hierdie studie dokumentasie omtrent die ontwikkelingsgang van die twee GMSe verskaf, asook inligting noodsaaklik tot 'n beter begrip van die suksesse en uitdagings van soortgelyke programme en hul verbintenis tot volhoubaarheidsfaktore. Die uitkoms van hierdie studie verskaf geleenthede vir verdere areas van navorsing ten opsigte van GM binne die Suid-Afrikaanse konteks. Sleutelwoorde: Volhoubaarheid, Interaksie, Gemeenskapsmusiek, Gemeenskaps-musiekskool, bevondsing, suksesse, uitdagings, projekleiers, onderwysers, vennootskappe Stellenbosch University https://scholar.sun.ac.za

Thesis (PhD)--Stellenbosch University, 2012. / Sensitive areas within this text have been blacked out. Please refer to the attachment. / ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated. / AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.

This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity.

Thesis (M. A.) -- University of Limpopo, 2008 / Refer to the document

No abstract available. / Thesis (B.Mus.)-University of Natal, Durban,1992.

This thesis aimed to examine the prevailing international intellectual property regime as embodied especially in the TRIPS Agreement, for purposes of outlining some of the criticisms levelled against it especially by the less developed world. The work aimed to illustrate how, despite the imperfections of the system, certain intellectual property rights could still be used strategically by African countries to bolster the entrepreneurial spirit, in the form of musical entrepreneurship for purposes of enhancing their international trade capacity.

South African primary school children need to be confronted with music in such a way that they can create, perform, listen and relate to it in a multicultural setting. This can be achieved by integrating music into the primary school curriculum, by means of ideas drawn from Comprehensive Musicianship, the spiral curriculum and outcomes-based education. Apart from the educational value of an integrated curriculum, the shortage of trained music educators makes it a necessity to involve generalist teachers in this way. There is thus a need, not being met by SASMT or SAMES, for a professional organisation to examine the goals and objectives of school music, and to equip teachers to put them into practice. In addition, as music is not specifically protected in Curriculum 2005, a professional organisation dedicated to primary school music is crucial to the survival of music education in South Africa. / Art History, Visual Arts and Musicology / M. Mus.

LL.M.

This study investigates the perceptions of South African practitioners of Western European Art Music (WEAM), specifically as they relate to the value of WEAM in contemporary South African society. In exploring some of the connections between musical identity and national identity, it sets out to discover what value WEAM holds for a certain group of student pianists. Qualitative empirical data was collected in the form of in-depth, semi-structured interviews and questionnaire responses, and the findings point to numerous, nuanced expressions of self and varied intersections of the nation with musical identity in the life of the individual. Further, WEAM appears to represent a crucial point of identification for these individuals, in each case generating positive affirmations of the self.

This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".