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Indigenous features inherent in African popular music of South AfricaNkabinde, Thulasizwe January 1997 (has links)
A thesis submitted in partial fulfilment of the requirements for the Degree Master of Music (Performance) in the Faculty of Arts at the University of Zululand, South Africa, 1997. / The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms.
All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population.
Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles.
It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens
have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s.
This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
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Mediating urban identity : orality, performance and poetry in the work of Koos du Plessis.Eberle, Catherine. January 2002 (has links)
In this article I examine as mediations of urban experience poems written by Koos
du Plessis. a contemporary Afrikaans poet. together with their musical rendition by
Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music
scene and former member of Die Gereformeerde Blues Band. The poetry was
initially published with musical arrangements in the volume Kinders van die Wind :
En Ander Lirieke (1981) . In order to use this material in an article produced as part
of an English study . I have translated the poetry into English . The translation (in
linguistic and performative terms) of these poems has the dual effect of rendering
them more appropriately for this study, and making them accessible to a wider
audience. I am concemed with the way poems written by a poet from an earlier
decade (the 1980s) interpret and mediate an urban identity and. further. with the fact
that performance not only gives them a new lease of life. but also transforms them
into works which have meaning and appeal for a more contemporary, broader
audience. The fundamental issues addressed in this poetry , namely a response to
and a negotiation of urban (South African) experience. continue to speak
compellingly today. / Thesis (M.A.)-University of Natal, Durban, 2002.
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Afrikaans alternative popular music, 1986-1990 : an analysis of the music of Bernoldus Niemand and Johannes Kerkorrel.Smit, Brendan. January 1992 (has links)
No abstract available. / Thesis (B.Mus.)-University of Natal, Durban,1992.
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South African popular gospel music in the post-apartheid era : genre, production, mediation and consumption.Malembe, Sipho S. January 2005 (has links)
This dissertation studies South African popular 'Gospel' music in the context of the new order of the post-apartheid era. The four main focal points of the study are genre, production, mediation and consumption. The end of apartheid was a historic and significant socio-political phenomenon in South Africa. Its implications were not only socio-political; they also affected many other aspects of the country, including arts and culture. Music was not exempt. The genre of local 'Gospel' is premised on the Christian faith, so that by producing and mediating 'Gospel' music, the music industry is at the same time producing and mediating the 'Gospel', or Christian culture. Consequently, by consuming 'Gospel' music the audience also consumes this 'Gospel' culture. Local 'Gospel' first emerged with foreign influences brought into South Africa by the missionaries, but gradually developed into the broad and complex genre that we know today. This is, in part, a result of 'other' influences, styles and elements having been incorporated into it. Many production companies are responsible for the production of local 'Gospel' music. These can be broadly categorized into two: major companies, and indies (which are small, private production companies). These two production routes have different implications for the artists and their music. Similarly, there are many different ways in which this music is mediated, or 'channelled', to its audience. These include television, radio, print media (newspapers, magazines, posters, fliers, etc.), internet, and live performances, all of which have their own specificities that determine their effectiveness in mediating local 'Gospel'. As is the case with any music, the audience for local 'Gospel' consumes its music in different ways and for different purposes. Though the artists/musicians assign certain meanings to their musical works, the audience does not always identify precisely with those musical meanings. Different people at different places and times, with different experiences and social conditions, encounter and interpret the music in different ways. South African popular 'Gospel' music is a broad and complex genre that has developed and grown over the years. The birth of democracy has had an indelible impact on it, and on its processes of production, mediation and consumption. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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Sigiya Ngengoma: Sonics after the Struggle – Kwaito and the Practice of FugitivityMdlalose, Sithembiso Tobias January 2019 (has links)
A research report submitted in partial fulfilment of the requirements for the degree of
Master of Arts (Sociology) / Can there ever be a space for radical Black performativity, by which I mean, a type of Black performance that is a challenge to, and not just a reiteration of (including in others’ enjoyment of it) the anti-Blackness of the world? This project – film and conceptual essay - investigates the limits and boundaries of this question and it does so through kwaito: a uniquely South African post 1994 musical and cultural phenomenon that is specifically born from the experiences of township life and of Blackness in South Africa. It does so as a way to think about the validity of the proposition put forward by Black Studies (mainly in Afro-pessimism) that violence in the modern world underwrites the Black person’s capacity to think, act, and exist spatially and temporally, this is in opposition, say, to Fred Moten’s Black Optimism, that holds that ‘objects’, that is to say Blacks, can and do resist and they do so through performance.
This project then enters the debate in Black Studies through a questioning of the ‘authenticity’ of Black radical performativity and cultural practices and it reads kwaito as a Black cultural performative practice that is a form of fugitivity. This paper looks at some of the more hopeful, humanistic interpretations of Black aesthetics and proposes as a challenge that we rather think about and read kwaito as something close to a deranged apocalyptic response to anti-Blackness, that does not offer answers, and is a movement that operates as a form of fugitivity that unveils the quotidian and banal subjectivity of Black township life in South Africa post 1994. / NG (2020)
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Songwriting in adolescence : an ethnographic study in the Western CapeVan Rensburg, Adriana Janse 12 1900 (has links)
Thesis (D. Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of
adolescent songwriting phenomenologically to ascertain the implications for
music education. Secondary aims and research questions include ascertaining if
and to what extent songwriting in adolescence serves as medium for emotional
expression, self-therapy, socio-cultural cohesion and informal learning. Other
secondary research aims are establishing the quality of the creative product and
determining the implications for music education curricula in keeping with
current curriculum development strategies.
Adolescents’ engagement in music is considered as a socio-cultural
phenomenon. Individuals’ interaction with music is thus considered on Doise’s
(1986:10-16) four levels of social explanation: the intra-personal, the interpersonal,
the positional level and the ideological level. On the intra-personal level
music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy
and mood control and technology of the body. On the inter-personal
level music is discussed as a form of self-expression serving as communicative
form. On the positional level music’s role in bonding between individuals,
namely social cohesion, is expounded. Lastly, on the ideological level, music is
considered as part of youth, youth culture and cultural identity.
The compositional (songwriting) process is analyzed. Compositional modes,
individual and collaborative, are identified and described and the creative process
namely composing, is delineated according to creativity, creativity as social
formation, creativity as process and the role and nature of informal learning.
Adolescents use the process of songwriting to establish and enhance social
cohesion, to further communication and expression with peers and to exert
creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General
perspectives and theories about musical analysis are addressed to include a
broader, socio-cultural view of analysis to analyze adolescent music. The musical
and lyrical features are analyzed within the context of their socio-cultural setting.
The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an
evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of
popular music analysis are applied in combination with Goodwin’s (1992) soundimage
model, synaestesia, to expand on the socio-cultural context of popular
music analysis. The implications of musicology namely “formal music
education” versus popular music styles and the effects of formal and informal
learning strategies on songwriting are considered. A new understanding of
musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role
that locality plays in this analysis is expounded. The role of notation and playing
by ear is set out to validate the adolescents’ creative product.
The research methodology employed in this research include group discussion,
observation, experience sampling method (adapted from Larson &
Csikszentmihalyi, 1983) and individual interviews and are described according to
methodology, results and analysis of the results.
General perspectives on music education curricula are considered in light of the
possible contribution songwriting, as an informal learning activity, could bring to
music education as composition is currently a high priority in international music
education discourse and features prominently in current curricula.
Recommendations and conclusions are made. / AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf
in adolessensie fenomenologies te beskryf om sodoende die implikasies vir
musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in
die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir
emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer.
Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die
kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met
inagneming van huidige kurrikulumontwikkeling strategieë.
Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele
fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise
(1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die
inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike
vlak word musiek beskou as ‘n tegnologie van die self (DeNora,
2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n
tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek
bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm.
Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s.
sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg
as deel van jeug, jeugkultuur en kulturele identiteit.
Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele
metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die
kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit,
kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van
informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale
binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n
informele leeromgewing uit te oefen.
Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf.
Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n
breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese
eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO
Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie
prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van
populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se
klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van
populêre musiekanalise. Die implikasies van musikologie, “formele
musiekopvoedkunde” versus populêre musiek en die effek van formele en
informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van
musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en
die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op
gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig.
Die navorsingsmetodologie toegepas in hierdie navorsing sluit in
groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van
Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf
volgens metodologie, resultate en die analise van die resultate.
Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en
prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene
perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die
moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan
musiekopvoedkunde kan bring.
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Claiming sounds, constructing selves : the racial and social imaginaries of South African popular music.Robertson, Mary. January 2005 (has links)
This thesis explores some of the ways in which listening to South African popular music allows individuals to enter into imaginative engagements with others in South Africa, and in so doing, negotiate their place in the social landscape. Taking as its starting point the notion of the "musical imaginary" - the web of connotational meanings arising out of the interaction between music and society, rendering it a particularly suitable medium through which to imagine social actors - it focuses specifically on the role of music in constructions of 'race' and, to a lesser extent, of 'nation'. It examines some of the ways in which dominant discourses exert pressure on what is imagined, as well as highlighting the creativity of listeners who appropriate the musical imaginary for their own ends of identification. It attempts to depict the complexity of musical identification in postapartheid South Africa, in which individuals must negotiate multiple boundaries marking difference, including categories of 'race', ethnicity, gender and class. It also investigates perceptions of the role of music in generating new identities and modes of social interaction, and offers some speculations as to how an analysis of these perceptions may contribute to current theoretical models of change in multicultural societies. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2005.
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Local is lekker? : a study of the perceptions of contemporary South African popular music among Durban adolescents at five culturally diverse schools in the greater Durban area.Ralfe, Sarah Isabel. January 2005 (has links)
Is local lekker? This study looks at the perceptions the youth in Durban hold towards
local music. Through a study of the Grade 11 learners at Bonela Secondary, Gelofte
Skool, Hillcrest High School, Thomas More College and Sastri College this research
looks at how much support is offered for local music. It considers how much local
music the respondents listen to, how much they purchase and how many local
concerts they attend.
This study also considers the mediathat the respondents are exposed to,in order to·
discover if any correlation occurs between the media that they are exposed to and
their perception of local music. The impact of globalization and cultural imperialism
on the consumption of local music are also considered. In addition, the study looks
at whether variables such as gender, school, "race" or the home language of the
respondents impact on their support for local music.
Both qualitative and quantitative data was collected. The respondents were required
to respond to a questionnaire which elicited responses concerning their perceptions
of local music, their support for local music and the media that they are exposed to.
From the questionnaires a group of respondents of differing views, genders and
home languages was selected to participate in a focus group interview.
Results show that the respondents support very little in the way of local music, with
regard to listening to local music, purchasing local music and supporting local
concerts. They are exposed to a great deal of foreign material and do not have much
exposure to local products. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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South African popular music of the 1980's and the role of the Graceland Project: A case of International (USA- RSA ) collaboration and co-productionZulu, Thulani 21 September 2018 (has links)
PhD (African Studies) / Department of African Studies / In the 1980s South Africa was subjected to cultural embargo. However, at the height of the embargo, Paul Simon went against the political climate of the day and mounted a cross-cultural, multinational music project called Graceland. Although South African popular music can facilitate the prosperity of musicians, only few musicians have succeeded in fostering this aspect. Using popular music and pop culture Afrocentrism as frameworks, this study analyses the Graceland project in the context of the South African popular music of the 1980s. The empirical research approach leaning towards the qualitative method was used. Interviews and literature review were the main modes of data gathering. Owing to the sensitivity of the subject, ethical considerations were adhered to. The cultural embargo, as well as other political interventions aiming at pressurising the South African government to abandon its apartheid policies, were well-meaning, but at the same time, the cultural embargo had a negative impact in that the popular culture of the country went unrecognised by global players. It was envisaged that this study would help in understanding the motivations and intentions of the planners of the Graceland project, and how these were to benefit the South African music sector. / NRF
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The representation of kwaito in the Sunday Times between 1994 and 2001Vilakazi, Sandisiwe 03 August 2012 (has links)
M.A. University of the Witwatersrand, Faculty of Humanities (Journalism and Media Studies), 2012 / This research investigates the representation of kwaito in the Sunday Times between 1994 and 2001, a period of transition for South Africa and the South African media. Kwaito, a music phenomenon that began in the streets of townships, was an important social development. Initially, it offered a range of ways in which post-apartheid black youth could represent themselves and their lives, both good and bad. The Sunday Times, on the other hand, was a white establishment newspaper that needed to change to represent a wider community and provide a space for the inclusion of previously neglected areas of South Africa cultural life. My analysis of all the articles on kwaito published in the newspaper demonstrates that the paper increasingly covered kwaito musicians and events, but tended to confine this coverage to the gossip pages of the City Metro, an insert aimed at black readers. On the other hand, commentators in feature and commentary articles in the main body, who had the power as “cultural consecrators” to investigate the meaning of kwaito as a phenomenon, tended to dismiss it as debased form of expression by lost youngsters. This bears out the argument by Hebdige that youth subcultures tend to be accommodated and contained by the media through a process of converting them into mass-produced objects or through neutering them ideologically.
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