This study focuses on the contribution of the South African accordion player and composer, Nico Carstens. As one of the most notable early exponents of South African light music, Nico Carstens has delivered a prolific output that has not only earned him the status of a national music icon, but has also resulted in international fame. It is remarkable that, throughout his career, he contributed more than 2 000 hits. His greatest success, by far, was the song âZambeziâ, which earned him instant international recognition, and was subsequently performed by world-renowned stars such as Eddy Calvert, Bert Kaempfert, The Shadows and Johnny Dankworth. In spite of Carstensâ importance within the field of South African light music, up to now, no comprehensive study has yet been undertaken to determine and document his contribution. Therefore, a more profound study on the meaning of his work with regard to the development and wider exposure of South African light music was necessary. This study focuses on the ways in which Carstens has managed as composer and performer to elevate and enrich the traditional boeremusiek idiom by means of a fusion of different musical influences and styles to a stylised, more comprehensive, though very accessible South African popular music identity. Firstly, a biographic perspective is presented offered in which the most important events during Carstensâ music career, linked directly with his development of South African popular music, is highlighted. Secondly, his artistic contribution is described at the hand of three topics, namely those of his compositions, his discography and his role as entertainment artist. The value of the research is that this study is the first of its kind to offer a profound investigation and valuation of Carstensâ music and his contribution to South African light music.

Musical Arts are a vibrant and integral part of life and culture in the Jali area, Zomba district, Southern Malawi. The musical arts types (magule ) are a means by which culturally significant knowledge, attitudes and skills are expressed and transmitted, to ensure the longevity of the way of life in Jali. This is a study of the musical arts education system as it exists in the Jali area. Due to the nature and intimate role of the magule in the culture of Jali, to learn the magule in the Jali area is to learn critical aspects of how and why the culture and everyday life of the community is both informed and re-formed. Inevitably, this is also a study of the culture of people in the area, giving this music education study an ethnographic approach. I observed, documented, and participated in the performance of three magule , namely Malangalanga , Manganje and Mganda . Interviews were conducted with adults as well as children. Through these means I have attempted to discover how the musical arts education system operates. Learning in this musical arts education system is practical and marked by high efficacy on the part of the learners. Their motivation resides in the desire to participate, and interact. A learner benefits through a combination of both informal and formal learning. Magule are learnt through the informal techniques of observational learning, play, trial-and-error, peer education and cooperative learning. Children observe and imitate through trial-anderror, during play either alone or with other children. Formal education occurs during initiation and in apprenticeship. Community is the bedrock on which cultural practices including the magule find their meaning and purpose. This fact is well documented in the culture and language through proverbs such as: Mutu umodzi siusenza denga (one head cannot hoist up a roof-to successfully accomplish a task one needs the help of others). The overarching objective of the musical arts education system is twofold: To express, communicate and embody the community; and thereby building character. Both community building and character building are geared towards cultivating Umunthu (humanness). Being human (munthu ) is understood as more than a biological fact, but is a qualitative distinction. This distinction is based on whether a person exhibits attitudes and behaviour that shows values for othersâ wellbeing, and is able to live morally, in adhering to the societyâs values and beliefs. Umunthu is an internal state that manifests externally in khalidwe la bwino (good/moral behaviour). Umunthu and its corresponding behaviour and attitudes, which the culture deems desirable for communal wellness, are obtained through the process of enculturation and manifests in everyday life and in magule . Ultimately, the learners are expected to become fully functional and productive members of the community; equipped with the knowledge, skill, attitudes and experience particular and useful to the community of Jali; able to participate fully in the performances and all that they signify. Learners are expected to posses Umunthu which results in khalidwe la bwino (good behaviour), leading to the transmission and perpetuity of the culture of Jali, specifically through magule.

In 2010 I was invited to take part in a performance of Fauréâs Requiem (Op. 48) in which the orchestral parts were transcribed for organ by Pawel (2000). From the outset it was apparent that the transcription would not do justice to the original aesthetic spirit of the work. Organ transcriptions are however indispensable in liturgical or concert performance contexts where a performance of the orchestral score is not possible. The availability of recordings poses significant challenges to such a transcription, as audiences, conductors and choristers are so familiar with the work â the Requiem is Fauréâs most popular and well-known piece. Thus a transcription that fails to take into account the original orchestral tonal palette will result in an unsatisfactory performance. It was for this reason that I decided to transcribe the work myself. Before the process of conceptualising a transcription in a responsible manner, one needs consider the task, and speculate upon the research question of whether Fauré himself would have opposed the very idea of an organ transcription, and also whether perhaps an organ duo or duet transcription would better serve the work. In order to answer this question in an academically justifiable manner, it was necessary to contextualise the existing transcription practise in Fauréâs Requiem in more detail. After studying and interpreting relevant literature on the subject, specific contexts pertaining to the work were construed in order to establish a framework and foundation that could support the process of transcription. To this end I focused upon aspects that were illuminated, in a concrete tangible manner, by the context wherein the Requiem gained its origin. These points of departure were, namely, historical, religious-philosophical, and also compositionalphilosophical and compositional-pedagogical. This literature study was supplemented by exhaustive study of the scores of editions of Fauréâs Requiem. This framework subsequently served as the raison dâetre for the transcription as a responsible re-interpretation of Fauréâs musical clothing of the words, as a vehicle of expression of the religious text. The literature study brought to light that transcriptions were an integral part of the nineteenth-century musical milieu, and that Fauré and his contemporaries contributed to this practice without reservation, approving only transcriptions faithful to the original work. It also appeared that Fauré, especially in his liturgical music, readily accommodated diverse accompanimental possibilities, according to the instrumental resources available to him on different occasions. Although Fauré wrote no original organ compositions, he made extensive use of the instrument to accompany voices in his liturgical works. It is on this evidence that I concluded that the composer would not have objected to a responsible organ transcription of his Requiem. Unlike most of his contemporaries, Fauré was singulary disindined towards gargantuan orchestral and theatrical effects, and drawn rather to subtle nuances of colour in order to illustrate the text. Also, his liturgical compositions are noticeably shorn of secular influences. Fauréâs personal approach to the Requiem remains true to this premise, and can therefore serve as a model of the Hellenic ideals so dear to him. In order to retain the orchestral colouristic element of the original work and achieve aesthetic satisfaction in a transcription, the medium of the organ duo or duet is rendered essential, as two players are capable of handling more of these colouristic elements. In closing, it should be mentioned that the question of an organ transcription of Fauréâs Requiem (Op. 48) has not been investigated in existing literature. As such a transcription should find an indispensible role in performances of the work in smaller liturgical or concert contexts, this may justify the subject worthy of an academic study. Additionally, neither an organ duo nor an organ duet version exists, and so this study addresses that hiatus, and further contributes to the international corpus of the organ transcription repertoire. The scrupulous documentation of the process of transcription, as well as the performance and recording of this version, affords the study academic credibility, as well as verity of professional authenticity.

Although I did not know Arnold Bosman (1957-2005) personally, I was compelled to undertake a biographical study of him. The story of his life and the fact that he, as a highly talented South African musician, had to establish himself in a foreign country amongst a strange culture resulted in the writing of this thesis. Bosmanâs exceptional musical talent was evident since his childhood. During his teens he achieved outstanding results. Eisteddfod-certificates, examination results, as well as performances with various orchestras are proof of his dedication from a very young age. His musicianship manifested from this time on in a somewhat idiosyncratical personality. Bosman showed certain likes and dislikes from a relatively young age and was rather outspoken regarding certain topics of current interest. The political situation in South Africa, in particular the âapartheidâ regime was but one topic, which Bosman strongly opposed. These viewpoints obviously caused tension between Bosman and his parents, as his father was a fervent Nationalist and served in the diplomatic service of the South African government. This presumed complex relationship with his parents perhaps also influenced other aspects of his life. According to arguments presented in this study, certain life-changing decisions could have been influenced by this complex relationship. Certain events during his life as a teenager would have had a significant influence in his life, and most probably contributed to some of the most important decisions that guided his life. Bosmanâs complexity had a far-reaching influence on his life. His search of a âplaceâ where he could feel at home, as well as his own âidentityâ were expressed in various poems as early as his high school years. Conspicuously he never really experienced the âhome-comingâ, not even during his adult life â except in his music where he associated himself with âplaceâ and âtimeâ in a significant manner. Initially it was his search for a suitable university where he could further his studies that forced him to make directive decisions. As Bosman expressed the desire to study to become a conductor at a time when there was no university in South Africa offering studies of this nature, he started investigating the possibility of studying abroadwith the assistance from his parents. The decision to undertake his undergraduate studies at the University of Cape Town presented him with numerous problems. The possibility of financial assistance from the University of Cape Town to further his studies abroad made it more of a reality. This period in Bosmanâs life also proved to be problematic. After a short period of study in both England and Holland, he eventually decided to go to Italy where he studied at various music schools. Bosman settled in Italy in the early 1980s and for a long period made a living as a freelance musician. During this time many piano recitals and appearances as accompanist for singers and instrumentalists, as well as his work as an assistant-conductor, provided Bosman with a reasonable income. During this time, Bosmanâs yearning to become a full-time conductor became increasingly apparent. His longing for a career as full-time conductor also became evident in some of his letters to his parents. According to documents available for this research, it became clear that he started working regularly as an assistant conductor and sometimes appeared as conductor himself. To establish himself as a conductor in Italy, Bosman was forced to live the disruptive life of a commuter for the majority of his life. In the early 1990s, Bosman was introduced to the specialist ensemble Musica Rara. His appointment as musical director and conductor of this ensemble finally offered Bosman the opportunity to fulfil his dream. His involvement with this ensemble to perform the more rare and unknown compositions of the masters in an authentic manner, gave the main themes of his life, namely that of âplaceâ and âtimeâ, significant meaning. The position he held with Musica Rara gave Bosman an artistic âplaceâ (âroleâ/âidentityâ) where he metaphorically could âbelongâ and where he as musician could flourish. Apart from his complex relationship with his parents, his strained relationship with South Africa lasted until his death. Although Bosman enjoyed significant success in Italy, he regularly investigated the possibility of performing in South Africa â as pianist, but more so as conductor â in a temporary but also in a more permanent capacity. However, he was never offered a permanent position, and there were but a few appearances during the last couple of years of his life. Because of these reasons, I found it necessary to document and to put in perspective, the life and contribution of this important and internationally famed South African artist.

Indoctrination through music is a well-known phenomenon which has been used for centuries as a strategy to influence society and instil certain beliefs and attitudes in people. Extensive research over the last few decades confirms music as a propagandist method to promote ideology. In this study, it is my aim to focus on two specific instances of such indoctrination, namely the ârote Liederâ which were sung in the German Democratic Republic, as well as Afrikaans âVolks- en Vaderlandsliedereâ as deployed before and during the apartheid era in South Africa. After National Socialism, people were once again exposed to propaganda in the German Democratic Republic. Several mass organisations were formed by the SED (Socialist Unity Party of Germany), including youth organisations such as the Young Pioneers, the Thälmann Pioneers and the Free German Youth, and society was introduced to songs of an ideological nature, encouraging belief in the communist system. These GDR ârote Liederâ were published in songbooks used especially by youth organisations. In this way the GDR government managed to gain support for the communist regime and a successful endeavour was initiated to circulate ideologically-loaded folk songs amongst the GDR citizens. In South Africa an Afrikaner ideology of racial segregation slowly emerged during the first decades of the 20th century, reaching a climax with a political take-over of the National Party in 1948. The songbook of the FAK (Federation of Afrikaans Cultural Associations), published in 1937, quickly gained popularity and promoted patriotism and nationalism among white Afrikaners, finding its way into Afrikaner homes, churches, organisations and schools, thus becoming unanimous with Afrikaner culture. Similar to the GDR, these songs were sung especially by the youth in schools and youth organisations. The governments of both the GDR and South Africa never formally disclosed the implementation of ideologically-driven songs to indoctrinate people, but this does not mean that they did not understand the value and effectiveness of using music and song text to sway large groups of people, and actively used these to convey political ideas. An ideology-critical analysis of a selection of folk songs taken from the GDR and FAK songbooks could therefore uncover underlying ideological structures which may have had a profound but possibly distorted effect on those who sang these songs. Against this background, this thesis investigates the extent to which ideology is present and operative in GDR songs and FAK âVolk- en Vaderlandsliedereâ by distorting reality through misrepresenting the conditions of a particular set of social-historical circumstances; expressing the interests of those in power; mobilising meaning so as to establish and perpetuate relationships of domination, and concealing relationships of domination. In order to uncover such ideological content, the theoretical framework for ideology analysis, as presented by John Thompson with his depth-hermeneutical, multi-level critical approach, and sub-theories of Discourse Archaeology as proposed by Johann Visagie, are applied. By combining Visagie's Discourse Archaeology with the discourse of critical musicology, the underlying and sometimes hidden ideological deep structures found in political folk songs revealed deep-seated ideological beliefs concealed within these songs and unmasked hidden relationships of domination. The conclusion reached is that ideological indoctrination is present in both the ârote Liederâ and the âVolks- en Vaderlandsliedereâ to a substantive degree. This confirms that the sub-theories of Discourse Archaeology are highly-complex ideological-critical tools with which deep-rooted ideological meanings in political folk songs were identified and exposed in this study within two very specific socio-historical environments. Moreover, when utilised in combination, each of the models introduced and applied in this thesis offers its own below-the-surface analysis on different levels and in different fields using their own language to describe structures and systems in a way that is not possible with âeverydayâ language, thus providing the analyst with an all-encompassing, powerful analytical framework with which to expose the philosophical deep structures of indoctrination through music that might have gone unnoticed in a more traditionally-oriented mode of musical analysis.