ABSTRACT The following thesis explored a specific subculture called skhothane, or izikhothane in the plural, which has taken root amongst the male youth in South African townships. Izikhothane are primarily concerned with music, fashion, dance and linguistic prowess in relation to their counterparts. They performed against their counterparts in order to gain status, prestige, fame and renown. These in turn were exchanged in some instances for other desired outcomes such as access to women. This study explored the intersecting factors that have caused the rise and transformation of this subculture. The contextual factors can be understood as historical, economic, and social. Other factors such as masculinity, gender, race, ethnicity and class seem to be playing a role in the meanings that izikhothane make and the lenses through which the view themselves and their urban spaces. In addition to the above the izikhothane were looked at in relation to subcultures that were formed during apartheid, such as comrades, tsotsis, comtsotsis and pantsulas, for example. This has given an idea of the continuity associated with subcultures and the generational factors that lead to their formation. The frame work that was used, for the most part, to critically understand this practice was primarily taken from Foucault’s conception of space, Winnicott’s formulation of transitional spaces, Bourdieu’s ideas of capital, and Erikson’s work on youth identity.

Masters of Art / This Creative Writing project is an album of South African songs written specifically in the context of American blues music. Although blues is an intrinsically American genre of Western popular music, it has its roots (along with other African-American forms of musical expression such as ragtime and jazz) in African culture, and as a South African musician and writer, I am intrigued by the possibilities of exploring African-American blues in the context of South Africa. This project therefore attempts some hybridity between these two cultural expressions, and to ascertain what kinds of lyric might be possible in modern South Africa in terms of the formation and perpetuation of a South African identity. Blues songs traditionally have a rather narrow focus as far as lyrics are concerned, but the genre’s melodic structure, its instrumentation and its very specific vocal qualities have over the last century formed the bedrock of the whole of modern Western popular music.

ABSTRACT With the change of regime in 1994, South African education policies for the arts have been created without a conceptual base. Music is on the outskirts of the present educational master plan that favours mathematics, science and literacy. The current situation of teacher shortages and emphasis on ‘basic’ subjects does not make posts possible for specialist music teachers in primary schools. The generalist trained Arts and Culture teacher is tasked to teach drama, music, and the visual arts. The attempt by policy makers to blur the outlines of individual art forms has created the generic Arts and Culture teacher who is unsure of the art forms in which he/she has little or no training. This lack is exposed and justification for the necessity of a philosophy of music education for South Africa will be proposed. A philosophy of music education refers to a system of basic beliefs, which underlie the operation of musical enterprise in an educational setting, whether school, community centre, or tertiary institution. A philosophy of music education would investigate and create an understanding of the underlying assumptions and principles governing the teaching and learning of music.Music is a modelling system for human thought and is a cognitive activity with forms of knowledge as important as any school subject. The ‘out of school’ influences of music are all-encompassing and ubiquitous to intercultural communication between peoples. Evidence is overwhelming that the political history in South Africa has interfered with and disrupted an enculturation of a musical life for children. The literature research shows that music education in South Africa was used as a political tool to support apartheid doctrines and processes. The restoration of a culture of co-operative musicing would help music teachers. Their active agency would positively affect policy in the arts. Furthermore making music or ‘musicing’ in a collaborative manner would break downbarriers because musicing encourages inter-racial rapprochement in a society where racial barriers are no longer dominant. Such harmonious communicating will help to create a new and idiomatic South African music culture. For this purpose I have proposed the adoption of the musical genre called quodlibet, a technique of composing music for many voices which are played simultaneously. This provides a platform for the collaboration of musicians, teachers, policy makers, and parents, within the wider community from which the pupils come to from. The quodlibet becomes a guiding principle and metaphor for the entire study. The central focus is to articulate the need for a philosophy of music education and to propose and defend conditions that would facilitate the growth of a conceptual centre for music education.

No abstract available / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted

This dissertation is an account of the response to the needs of the 19th century Afrikaner - for patriotic music and for national anthems, particularly a Transvaal Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia. A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history. Attempts by Transvalers, Hollanders and South Africans in general to compose works aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters of this survey. It is shown how the national anthem of thc Orange Free State ('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable anthem of its own. Twenty seven early South African and Dutch works, each aimed at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted. Chapter VI deals with 24 colourful patriotic compositions from all over the world. Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera. But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman Catharina Felicia van Rees - rose above all opposition, and was finally accepted as the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI). These chapters tell of 'Kent gij dat volk?', the song that soared through the world, inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause. Of the corpus of 695 items in Appendix AI, over 180 are editions and versions of 'Kent gij dat volk? '. These versions and all the music that could be traced during my research are incorporated in Chapter VIII - whether as sheet music or in albums, incorporations or variations, also indicate where she was acknowledged as composer and where not. For the piracy of her song, not only in the Western world but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious. This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out of the general musical background, for scrutiny and comparison, has, in my opinion, revealed a wealth of interesting and useful information. And, could well lead to much needed further research into and documentation of Africana music. / Art history, Visual arts & Musicology / M.A. (Musicology)

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups in South Africa. The objective was to provide a history of the development of such groups in South Africa, as well as to compare the methods and musical products of these groups. Another aim was to explore the effects of the groups on the South African music industry and music education. An initial literature research on the history of electric bowed instruments and the phenomenon of classical crossover music as a genre provided the contextual information needed to understand the building blocks of this relatively young compartment of the music industry. Characteristics and marketing strategies of this genre are discussed as well as the impact of aesthetics and gender on classical crossover artists. A set of questionnaires was distributed amongst members of these groups, classical professional musicians in professional South African orchestras, members of electric bowed instrument groups in South Africa, tertiary music students and students at a music school, as well as audience members at an electric bowed instrument group concert. The questionnaires were taken to the Centre for Statistical Consultation at the Stellenbosch University Statistics Department and the processed results were applied to this study. The influence of such groups on South African music education as well as the South African music industry is then examined. The combination of electric bowed instrument and classical crossover music gave birth to the phenomenon of electric bowed instrument groups. In this thesis the “originality” of such artists was evaluated, as a distinct pattern or formula for forming and operating such groups has materialised. The South African electric bowed instrument groups attempt to incorporate a uniquely South African quality into their performances with varying levels of success. Members of such groups, as well as professional classical musicians in the country, believe that the existence and performances of these groups have had an impact on South African music education; however, this theory is proven incorrect in this thesis. Furthermore, it was found that electric bowed instrument groups could have a negative impact on classical music in South Africa, as their marketing directed at the public may unintentionally steer audiences away from classical music performances. The electric bowed instrument groups industry has shown enough growth to prove its sustainability in South Africa as well as internationally. It is a valuable additional occupation for bowed instrument players in South Africa, although it might have a detrimental impact on the South African classical music industry. / AFRIKAANSE OPSOMMING: In hierdie tesis word die ontstaan en ontwikkeling van elektriese strykinstrument groepe in Suid Afrika ondersoek. Die doel van die studie is om ʼn geskiedenis van sulke groepe te lewer, sowel as om die bestuur metodes en musiek van sulke groepe te vergelyk. Verder word die effekte van hierdie groepe in Suid Afrika op musiekopvoeding en die Suid Afrikaanse klassieke musiek bedryf ondersoek. ʼn Literatuur ondersoek van die geskiedenis van elektriese strykinstrumente en die fenomeen van klassieke “crossover” musiek as ʼn genre, het nodige agtergrond informasie ten opsigte van die boublokke van so ʼn relatiewe jong afdeling in die musiekbedryf verskaf. Kenmerke en bemarkingstrategieë van hierdie genre is bespreek, sowel as die klem van estetika en geslag op klassieke “crossover” musikante. ʼn Stel vraelyste is uitgedeel onder professionele klassieke musikante in Suid Afrika, lede van Suid-Afrikaanse elektriese strykinstrument groepe, tersiêre musiekstudente, studente by ʼn musiekskool sowel as ʼn gehoor by ʼn elektriese strykinstrument groep uitvoering. Die vraelyste was geneem na die Sentrum vir Statistieke Konsultasie aan die Universiteit van Stellenbosch, en die verwerkte resultate was toegepas op die studie. Die invloed van hierdie groepe op Suid Afrikaanse musiekopvoeding, sowel as die Suid Afrikaanse musiekbedryf word in hierdie studie bespreek. Die kombinasie van elektriese strykinstrumente en klassieke “crossover” musiek het gelei tot die ontstaan van elektriese strykinstrument groepe. In hierdie tesis word die uniekheid van sulke groepe bevraagteken, oordat ʼn patroon of formule vir die formasie en bestuur van sulke groepe te voorskyn gekom het. Die Suid Afrikaanse elektriese strykinstrument groepe wend ʼn poging aan om ʼn unieke Suid Afrikaanse persona aan hulle optredes te gee, met wisselende vlakke van sukses. Lede van hierdie groepe, sowel as professionele klassieke musikante in Suid Afrika glo dat die bestaan van elektriese strykinstrument groepe en hul uitvoerings ʼn invloed het op die Suid Afrikaanse musiekopvoedkunde. In die studie is hierdie hipotese egter onwaar bevind. Verder, is dit bevind dat elektriese strykinstrument groepe ʼn moontlike negatiewe effek op die Suid Afrikaanse klassieke musiek bedryf kan hê, aangesien hulle bemarking tot die publiek mag onopsetlik gehore weg stuur vanaf klassieke musiek uitvoerings. Die elektriese strykinstrument groep industrie toon genoeg ontwikkeling en groei in Suid Afrika en op internasionale vlak om hul toekoms in die musiekindustrie te bevestig. Sulke groepe is waardevolle addisionele werksgeleenthede vir strykers in Suid Afrika, alhoewel die fenomeen moontlike negatiewe impak op die Suid Afrikaanse klassieke musiekindustrie mag hê.

This dissertation is an account of the response to the needs of the 19th century Afrikaner - for patriotic music and for national anthems, particularly a Transvaal Volkslied. The response came not only from the Transvaal (Zuid-Afrikaansche Republiek) and the rest of South Africa, but from the whole of the Western world including America and Russia. A corpus of 695 editions of pro-Afrikaner patriotic music has been compiled in Appendices AI and A2, representing around 350 compositions. This large figure shows that with each War of Independence waged by the burgers against Britain (1880-1881 and 1899-1902) there was a surge of music inspired by the Afrikaner cause. In fact, these wars of independence were chronicled in music - perhaps more so than any other war in world history. Attempts by Transvalers, Hollanders and South Africans in general to compose works aspiring to the accolade of Transvaal Volkslied are highlighted in the early chapters of this survey. It is shown how the national anthem of thc Orange Free State ('Heft, Burgers') was the incentive for the Transvaal to find an officially acceptable anthem of its own. Twenty seven early South African and Dutch works, each aimed at becoming a national anthem for the Transvaal, or for the whole of South Africa including the Transvaal, are dealt with. In particular, four compositions by J.S. de Villiers (two settings for "'n Ider nasie', and one each for 'De Vierkleur van ons dierbaar land' and 'Op, Op met de Vierkleur'), one by W.J. van Gorkom ('Een ieder nasie') and one by Catharina van Rees ('Kent gij dat Volk?') are highlighted. Chapter VI deals with 24 colourful patriotic compositions from all over the world. Some, like Les Boers by Jules Mulder, are treated in some detail. These works form a cross-section through 19th century music inspired by the Afrikaner cause. They range from the sad to the satirical, from the furious to the funny, and very few live on to this day - almost all have proved to be musical ephemera. But one song -- 'Kent gij dat volk vol heldemoed?' by the noble Dutch woman Catharina Felicia van Rees - rose above all opposition, and was finally accepted as the official Transvaal Volkslied. It stands supreme as an inspired work. Five chapters of the dissertation are devoted to the birth, lifespan and impact of this song (Chapters VII to XI). These chapters tell of 'Kent gij dat volk?', the song that soared through the world, inspired by the Afrikaner cause and by Pres. Thomas Burgers, created by Van Rees with a great love for the Boer people - inspiring others to such an extent that she and her song became the centre of a veritable cult. A Dutch song and a Dutch woman had become the epitome of the Afrikaner cause. Of the corpus of 695 items in Appendix AI, over 180 are editions and versions of 'Kent gij dat volk? '. These versions and all the music that could be traced during my research are incorporated in Chapter VIII - whether as sheet music or in albums, incorporations or variations, also indicate where she was acknowledged as composer and where not. For the piracy of her song, not only in the Western world but in South Africa as well, caused Catharina van Rees profound sadness. A great deal of confusion surrounded Cato and her song (Chapter X) and she also gave many people a great deal of pleasure (Chapter Xl). With over 180 known editions of the music and at least 35 poems written to this music (Chapter IX) one cannot but realize that here is music indeed. And by means of Appendix A1 one has a composite picture of the musical and emotional milieu into which 'Kent gij dat volk?'was born, gave battle and was victorious. This attempt to lift pro-Afrikaner music and especially the Transvaal Volkslied out of the general musical background, for scrutiny and comparison, has, in my opinion, revealed a wealth of interesting and useful information. And, could well lead to much needed further research into and documentation of Africana music. / Art history, Visual arts and Musicology / M.A. (Musicology)

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Priaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.

The music industry worldwide is rapidly evolving as a result of commercial, technological and demographic developments. The magnitude of the strategic impact of these developments on the South African music industry is evaluated in terms of internal and external factors, such as the intrinsic industry growth levels, ability to adapt to change, the consumer buying power, audio-visual piracy and counterfeiting, literacy, employment and the prevalence of HIV/AIDS. Collected data from public domain and proprietary music industry sources are transformed and presented in terms of the competitiveness of the South African music industry, from which key points for strategic leverage are identified. These key points of strategic leverage include education and training, relevant music industry research, the formalisation of the music industry strategy process and the development of alternative marketing, sales and distribution channels. In comparison to specific benchmark countries, the South African music industry has significant technological and socio-economic challenges and opportunities that need to be addressed in order to become a competitive co-evolutionary participant in the world music industry. South Africa, as an emerging world player, is ideally positioned for the development and implementation of new technological and commercial systems, such as the download distribution channel. This however, requires the collaborative participation of government departments, educational institutions, public and private enterprises. In particular, in-depth research on the local music industry is needed, which should include the collection of relevant statistical data. This study presents suggestions for some strategic interventions, including an application of the Porter DNA-model. / Dissertation (MMus (Music Technology))--University of Pretoria, 2007. / Music / MMus / unrestricted

New digital distribution and value capture models have emerged on the global music industry scene in the last ten years. These models are highly dependent on a strong underlying communications and broadband internet infrastructure which is largely present in most developed markets. South Africa, however, is a developing country whose broadband infrastructure is still nascent and not as widely available or accessible. Due to the permeation of mobile technology, most broadband internet access is likely to occur through the mobile networks in most developing markets. This stands in stark contrast to developed markets where broadband internet access occurs primarily via fixed line infrastructure with mobile as a secondary option.This research set out to investigate whether digital value distribution and value capture models which succeeded in developed countries would be suitable for the South African music industry given the broadband infrastructure constraints and the different internet access methodologies prevalent in this developing market. This research employed an exploratory research methodology in order to investigate this question and found that a mixture of value distribution and value capture models would address the entire market requirement, with mobile-centric digital distribution models being most suitable for mass market deployment. / Dissertation (MBA)--University of Pretoria, 2012. / Gordon Institute of Business Science (GIBS) / unrestricted