Originally presented as the author's thesis (doctoral)--Universität Würzburg, 2008. / Includes bibliographical references.

This research sought to explore the patterns of co-authorship collaboration between African and international authors who have published together in journals relating to the field of social psychology. Bibliographic data was used to extract and produce social network maps of academic co-author collaborations in which one of the authors was African or affiliated to an author from an African country. These patterns of collaboration were analysed using social network analysis and it was found that, on average, African authors are poorly interconnected with other international authors in the field of social psychology and are also poorly interconnected with other African authors across the continent. It is likely that these structures of collaboration constrain the ability of African authors to produce their own relevant knowledge within the field of social psychology, in that their collaborations are limited and usually mediated by international connections. This pattern of interconnection makes it more likely that African social psychologists will operate within paradigms generated by academics in international and well-resourced countries and militates against the development of African paradigms. / Thesis (M.Soc.Sc.)-University of KwaZulu-Natal, Pietermaritzburg, 2014.

This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.