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DVD contains the musical compositions

M.Mus., Faculty of Arts, University of the Witwatersrand, 1998

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.

Text in Afrikaans / Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek / An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix / Art History, Visual Arts & Musicology / D.Mus. (Musiekwetenskap)

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.

Text in Afrikaans / Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek / An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix / Art History, Visual Arts and Musicology / D.Mus. (Musiekwetenskap)

The main focus of this work explores the ideological concepts surrounding the early development of South African urban music. First, a brief description of the development of some of the major urban music styles of the continent of Africa is provided. This is followed by an overview of the early development of South African urban styles, and includes definitions of the styles as they occurred chronologically up to the development of African jazz in the 1940s. Kwela is discussed as the major commercial offshoot of African jazz in the 1950s. The concepts and beliefs, or 'thought worlds', which were transmitted from white South African liberals to elite black intellectuals in the 1930s and 1940s, in so far as they were presented in the press of these decades, are examined. Specifically, the effects of these liberal ideological concepts on the preference for western civilisation in general and western music in particular is discussed. The role of Black America as the flagship of black progress, achievement, and above all, success in the realms of music, is assessed in relation to its impetus for the black elite 'liberal' strategy which essentially appealed to white moral conscience. The concepts of Africanism and 'New Africanism' are investigated so as to determine their influence on the creation of unique, syncretic African forms, and in particular, on the birth of African jazz or mbaqanga of the 1940s. The viability of describing elite support for the Africanisation of jazz in this decade as expressing or emanating from political militancy as a manifestation of the 'philosophy' of 'New Africanism' is debated. The 1950s are presented as a decade which can be described in generalised terms as one of 'urban protest', in which a mélange of hedonism and political assertion provides the context for the creation of highly commercialised African urban styles. The use of the colloquial epithet 'msakazo' as an umbrella term for these styles is discussed, focussing on the ideological perspectives of the proponents and opponents of the genre. Reasons for the vehement opposition to African styles by some in the media who simultaneously sponsored American progressive jazz styles such as bebop, are analysed. Emphasis throughout the work is given to the interplay between Government policies and the development of the different styles. In particular, the role of the Nationalist Party policy of Apartheid, and its direct and indirect effects on the demise of African jazz, is examined. / Thesis (DPhil (Music))--University of Pretoria, 2007. / Music / unrestricted

From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .