Bamurangahe
- Twa musicians of Chief Biniga (Performer), Composer not specified
- Authors: Twa musicians of Chief Biniga (Performer) , Composer not specified
- Subjects: Imihamilizo Tutsi dance song , Makondera composite horns , Drum , Indigenous folk music , Chief Biniga's home , Belgian Congo (Democratic Republic of Congo)
- Type: Sound , Music
- Identifier: vital:15520 , MOA07-10 , http://hdl.handle.net/10962/d1017391 , MOA7
- Description: Imihamilizo Tutsi dance song by Twa musicians of Chief Biniga, with makondera (composite) horns and a drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Twa musicians of Chief Biniga (Performer) , Composer not specified
- Subjects: Imihamilizo Tutsi dance song , Makondera composite horns , Drum , Indigenous folk music , Chief Biniga's home , Belgian Congo (Democratic Republic of Congo)
- Type: Sound , Music
- Identifier: vital:15520 , MOA07-10 , http://hdl.handle.net/10962/d1017391 , MOA7
- Description: Imihamilizo Tutsi dance song by Twa musicians of Chief Biniga, with makondera (composite) horns and a drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Kyarutema
- Twa musicians of Chief Biniga (Performer), Composer not specified
- Authors: Twa musicians of Chief Biniga (Performer) , Composer not specified
- Subjects: Tutsi dance song , Indigenous folk music , Makondere horns , Drum , Chief Binigas home , Shangugu district , Rwanda
- Type: Sound , Music
- Identifier: vital:15427 , MOA30-15 , http://hdl.handle.net/10962/d1017733 , MOA30
- Description: Tutsi dance song by Twa musicians of Chief Biniga, with Makondere horns, accompanied by a drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
- Authors: Twa musicians of Chief Biniga (Performer) , Composer not specified
- Subjects: Tutsi dance song , Indigenous folk music , Makondere horns , Drum , Chief Binigas home , Shangugu district , Rwanda
- Type: Sound , Music
- Identifier: vital:15427 , MOA30-15 , http://hdl.handle.net/10962/d1017733 , MOA30
- Description: Tutsi dance song by Twa musicians of Chief Biniga, with Makondere horns, accompanied by a drum , This recording is held at the International Library of African Music. For further information contact ilamlibrary@ru.ac.za , This recording was digitised by the International Library of African Music , Original format: 15ips reel , Equipment used in digitisation: Studer B 67 Tape Recorder; Nagra III , Software: Sound Forge V.6 , Sample rate: 44100Hz 16Bit Stereo
- Full Text: false
Bamurangahe
- Twa musicians of Chief Biniga, Hugh Tracey
- Authors: Twa musicians of Chief Biniga , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Folk dance music , Tutsi (African people) , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148704 , vital:38765 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR057-06
- Description: Songs for the Intore dancers and their Imihamilizo dance, the traditional Tutsi dance. The opening cadenza by the leading horn player well demonstrates the technique of horn playing. Imihamilizo Tutsi dance songs with Makondera horns (composite) and drum
- Full Text: false
- Date Issued: 1952
- Authors: Twa musicians of Chief Biniga , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Folk dance music , Tutsi (African people) , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148704 , vital:38765 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR057-06
- Description: Songs for the Intore dancers and their Imihamilizo dance, the traditional Tutsi dance. The opening cadenza by the leading horn player well demonstrates the technique of horn playing. Imihamilizo Tutsi dance songs with Makondera horns (composite) and drum
- Full Text: false
- Date Issued: 1952
Kyarutema
- Twa musicians of Chief Biniga, Hugh Tracey
- Authors: Twa musicians of Chief Biniga , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Folk dance music , Tutsi (African people) , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148699 , vital:38764 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR057-05
- Description: Songs for the Intore dancers and their Imihamilizo dance, the traditional Tutsi dance. The opening cadenza by the leading horn player well demonstrates the technique of horn playing. Imihamilizo Tutsi dance songs with Makondera horns (composite) and drum
- Full Text: false
- Date Issued: 1952
- Authors: Twa musicians of Chief Biniga , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Folk dance music , Tutsi (African people) , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148699 , vital:38764 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR057-05
- Description: Songs for the Intore dancers and their Imihamilizo dance, the traditional Tutsi dance. The opening cadenza by the leading horn player well demonstrates the technique of horn playing. Imihamilizo Tutsi dance songs with Makondera horns (composite) and drum
- Full Text: false
- Date Issued: 1952
Kyarutema a; Bamurangahe b
- Twa musicians of Chief Biniga, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Twa musicians of Chief Biniga , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329411 , vital:61336 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3196-XYZ7405
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
- Authors: Twa musicians of Chief Biniga , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329411 , vital:61336 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3196-XYZ7405
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
Bamurangahe
- Twa musicians of Chief Biniga, Composer unknown, Tracey, Hugh
- Authors: Twa musicians of Chief Biniga , Composer unknown , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Chief Bininga's home f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/214839 , vital:47993 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT270-F2 , Research no. MOA7 SIDE B NO.4
- Description: Imihamilizo dance song played by Twa musicians for their Tutsi masters to dance to, with makondera horns and drum.
- Full Text: false
- Date Issued: 1952-07-15
- Authors: Twa musicians of Chief Biniga , Composer unknown , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Chief Bininga's home f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/214839 , vital:47993 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT270-F2 , Research no. MOA7 SIDE B NO.4
- Description: Imihamilizo dance song played by Twa musicians for their Tutsi masters to dance to, with makondera horns and drum.
- Full Text: false
- Date Issued: 1952-07-15
Bamurangahe
- Twa musicians of Chief Biniga, Composer unknown, Tracey, Hugh
- Authors: Twa musicians of Chief Biniga , Composer unknown , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Chief Bininga's home f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/214846 , vital:47992 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT270-F2 , Research no. MOA7 SIDE B NO.4
- Description: Imihamilizo dance song played by Twa musicians for their Tutsi masters to dance to, with makondera horns and drum.
- Full Text: false
- Date Issued: 1952-07-15
- Authors: Twa musicians of Chief Biniga , Composer unknown , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Chief Bininga's home f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/214846 , vital:47992 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT270-F2 , Research no. MOA7 SIDE B NO.4
- Description: Imihamilizo dance song played by Twa musicians for their Tutsi masters to dance to, with makondera horns and drum.
- Full Text: false
- Date Issued: 1952-07-15
Kyarutema
- Twa musicians of Chief Biniga, Composer unknown, Tracey, Hugh
- Authors: Twa musicians of Chief Biniga , Composer unknown , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Chief Bininga's home f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/214830 , vital:47991 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT270-F2 , Research no. MOA7 SIDE B NO.4
- Description: Imihamilizo Tutsi dance song with Makondera horns and drum accompaniment.
- Full Text: false
- Date Issued: 1952-07-15
- Authors: Twa musicians of Chief Biniga , Composer unknown , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Chief Bininga's home f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/214830 , vital:47991 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT270-F2 , Research no. MOA7 SIDE B NO.4
- Description: Imihamilizo Tutsi dance song with Makondera horns and drum accompaniment.
- Full Text: false
- Date Issued: 1952-07-15
Inyamibwa
- Nkeragutabara and Shyirambere, Hugh Tracey
- Authors: Nkeragutabara and Shyirambere , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Folk dance music , Tutsi (African people) , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148650 , vital:38759 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR057-01
- Description: An authentic Tutsi song in free moving recitative style. The two singers were the leading dancers of Chief Biniga's Ntore team
- Full Text: false
- Date Issued: 1952
- Authors: Nkeragutabara and Shyirambere , Hugh Tracey
- Date: 1952
- Subjects: Folk music--Africa , Songs, Kinyarwanda--Rwanda , Folk dance music , Tutsi (African people) , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/148650 , vital:38759 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR057-01
- Description: An authentic Tutsi song in free moving recitative style. The two singers were the leading dancers of Chief Biniga's Ntore team
- Full Text: false
- Date Issued: 1952
Tuvug' inyamibwa
- Intore- Tutsi dancers of Chief Biniga, Ntoranyi, C., Tracey, Hugh
- Authors: Intore- Tutsi dancers of Chief Biniga , Ntoranyi, C. , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/217718 , vital:48314 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT310-F83 , Research no. F3V8
- Description: Indigenous folk song for walking, with unaccompanied singing.
- Full Text: false
- Date Issued: 1952-07-15
- Authors: Intore- Tutsi dancers of Chief Biniga , Ntoranyi, C. , Tracey, Hugh
- Date: 1952-07-15
- Subjects: Folk music--Africa , Field recordings , Africa, Sub-Saharan , Africa Rwanda Shangugu f-rw
- Language: Kinyarwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/217718 , vital:48314 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Field Tapes, Rhodes University, Makhanda, South Africa , HTFT310-F83 , Research no. F3V8
- Description: Indigenous folk song for walking, with unaccompanied singing.
- Full Text: false
- Date Issued: 1952-07-15
The jazz divas an analysis of the musical careers of six New Brighton vocalists
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
A speech
- Authors: Chief Bianoko , Hugh Tracey
- Date: 1952
- Subjects: Songs, Swahili , Bira (African people) , Swahili-speaking peoples , Pygmies , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Gombe f-cg
- Language: Bira
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/168413 , vital:41579 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0126-08
- Description: The chief made this speech to all the assembled dancers, musicians and people who replied with enthusiasm in the traditional manner. Responses with ivory horn.
- Full Text: false
- Date Issued: 1952
- Authors: Chief Bianoko , Hugh Tracey
- Date: 1952
- Subjects: Songs, Swahili , Bira (African people) , Swahili-speaking peoples , Pygmies , Folk music , Field recordings , Africa, Sub-Saharan , Africa Democratic Republic of Congo Gombe f-cg
- Language: Bira
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/168413 , vital:41579 , International Library of African Music, Rhodes University, Grahamstown, South Africa , TR0126-08
- Description: The chief made this speech to all the assembled dancers, musicians and people who replied with enthusiasm in the traditional manner. Responses with ivory horn.
- Full Text: false
- Date Issued: 1952
An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s
- Authors: Drewett, Michael
- Date: 2004
- Subjects: Censorship -- South Africa Popular music -- Censorship -- South Africa Popular music -- Censorship -- South Africa -- History Popular music -- Social aspects -- South Africa Popular music -- Political aspects -- South Africa Popular music -- South Africa -- History and criticism Protest songs -- South Africa -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3350 , http://hdl.handle.net/10962/d1007098
- Description: The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
- Full Text:
- Date Issued: 2004
- Authors: Drewett, Michael
- Date: 2004
- Subjects: Censorship -- South Africa Popular music -- Censorship -- South Africa Popular music -- Censorship -- South Africa -- History Popular music -- Social aspects -- South Africa Popular music -- Political aspects -- South Africa Popular music -- South Africa -- History and criticism Protest songs -- South Africa -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3350 , http://hdl.handle.net/10962/d1007098
- Description: The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
- Full Text:
- Date Issued: 2004
The evolution of the role of the orchestral conductor
- Authors: Snyman, Grant
- Date: 2018
- Subjects: Music , Orchestral music Orchestral music -- Interpretation (Phrasing, dynamics, etc.) Conducting
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23153 , vital:30435
- Description: Orchestral conducting is an art form and profession that has existed for over two centuries – but with little detailed documentation. Thus, the core focus of the treatise is to provide a detailed history of the changing role of the orchestral conductor, his role in orchestral music and the future of orchestral conducting as a profession. The treatise describes the periodical history of the orchestra in relation to the need for a conductor that has developed. It discusses four composer-conductors who had a profound and lasting impact on orchestral conducting as a full-time profession. The treatise also highlights two leading international orchestras. These two international orchestras, with the help of their musical directors, were able to reach new musical achievements in the 20th Century. A broad description of the role of the orchestral conductor in South Africa is provided. Moreover, the researcher explores the reasons why classical music, as an established art form, performed by symphony orchestras, has increasingly struggled internationally as a sustainable industry. Finally, the researcher draws on the theoretical framework and his own experience to make recommendations for future development of conductors as well as research in this field.
- Full Text:
- Date Issued: 2018
- Authors: Snyman, Grant
- Date: 2018
- Subjects: Music , Orchestral music Orchestral music -- Interpretation (Phrasing, dynamics, etc.) Conducting
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23153 , vital:30435
- Description: Orchestral conducting is an art form and profession that has existed for over two centuries – but with little detailed documentation. Thus, the core focus of the treatise is to provide a detailed history of the changing role of the orchestral conductor, his role in orchestral music and the future of orchestral conducting as a profession. The treatise describes the periodical history of the orchestra in relation to the need for a conductor that has developed. It discusses four composer-conductors who had a profound and lasting impact on orchestral conducting as a full-time profession. The treatise also highlights two leading international orchestras. These two international orchestras, with the help of their musical directors, were able to reach new musical achievements in the 20th Century. A broad description of the role of the orchestral conductor in South Africa is provided. Moreover, the researcher explores the reasons why classical music, as an established art form, performed by symphony orchestras, has increasingly struggled internationally as a sustainable industry. Finally, the researcher draws on the theoretical framework and his own experience to make recommendations for future development of conductors as well as research in this field.
- Full Text:
- Date Issued: 2018
Abahizi
- Batwa musicians of Chief Kamuzini, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Batwa musicians of Chief Kamuzini , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329582 , vital:61355 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3215-XYZ7427
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
- Authors: Batwa musicians of Chief Kamuzini , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329582 , vital:61355 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3215-XYZ7427
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
Mpagatare a; Mpundu b
- Batwa musicians of Chief Kamuzini, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Batwa musicians of Chief Kamuzini , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329600 , vital:61357 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3217-XYZ7429
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
- Authors: Batwa musicians of Chief Kamuzini , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329600 , vital:61357 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3217-XYZ7429
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
Intumwa
- Batwa musicians of Chief Kamuzini, Performer not specified, Composer not specified, Tracey, Hugh
- Authors: Batwa musicians of Chief Kamuzini , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329587 , vital:61356 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3216-XYZ7428
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
- Authors: Batwa musicians of Chief Kamuzini , Performer not specified , Composer not specified , Tracey, Hugh
- Date: 1952
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Rwanda City not specified f-rw
- Language: Rwanda
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/329587 , vital:61356 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP3216-XYZ7428
- Description: Indigenous music
- Full Text: false
- Date Issued: 1952
Interviews in the country
- Authors: Tracey, Hugh
- Subjects: Report , North Eastern corner of Rhodesia , Hand piano , Madebe dza Mhondoro , Ancestral spirits , Chief , Mkota region , Mtoko district , Tonga , Sena , Mbira tunes , 26 notes , Korekore , Musicians , Three , Murira, Saini , Madzikaminga, Chigaipa , Muzengedza, Zhogi , Traditional tune , Musengu , Large gourds , Mbira performance , Left hand , Right hand , Singing , Tracey, Hugh playing Saini's mbira , Kari muchipfuwa kana ziwa ne mwene wako
- Language: English
- Type: Sound , Radio broadcast , Music
- Identifier: vital:15142 , http://hdl.handle.net/10962/d1012607 , Reel number: BC175
- Description: Broadcast No 2 of 'Interviews in the country' by Hugh Tracey, broadcast by the South African Broadcasting Corporation , For further details refer to the ILAM Document Collection: Hugh Tracey Broadcasts
- Full Text: false
- Authors: Tracey, Hugh
- Subjects: Report , North Eastern corner of Rhodesia , Hand piano , Madebe dza Mhondoro , Ancestral spirits , Chief , Mkota region , Mtoko district , Tonga , Sena , Mbira tunes , 26 notes , Korekore , Musicians , Three , Murira, Saini , Madzikaminga, Chigaipa , Muzengedza, Zhogi , Traditional tune , Musengu , Large gourds , Mbira performance , Left hand , Right hand , Singing , Tracey, Hugh playing Saini's mbira , Kari muchipfuwa kana ziwa ne mwene wako
- Language: English
- Type: Sound , Radio broadcast , Music
- Identifier: vital:15142 , http://hdl.handle.net/10962/d1012607 , Reel number: BC175
- Description: Broadcast No 2 of 'Interviews in the country' by Hugh Tracey, broadcast by the South African Broadcasting Corporation , For further details refer to the ILAM Document Collection: Hugh Tracey Broadcasts
- Full Text: false
A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians
- Authors: Kazadi, Kanyabu Solomon
- Date: 2015
- Subjects: Popular music -- Zambia , Musicians -- Zambia , Sound recording industry -- Zambia , Popular music -- Production and direction -- Zambia , Popular music -- Marketing , Intellectual property -- Zambia , Copyright -- Royalties -- Zambia
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3404 , http://hdl.handle.net/10962/d1018933
- Description: The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry.
- Full Text:
- Date Issued: 2015
- Authors: Kazadi, Kanyabu Solomon
- Date: 2015
- Subjects: Popular music -- Zambia , Musicians -- Zambia , Sound recording industry -- Zambia , Popular music -- Production and direction -- Zambia , Popular music -- Marketing , Intellectual property -- Zambia , Copyright -- Royalties -- Zambia
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:3404 , http://hdl.handle.net/10962/d1018933
- Description: The purpose of this research was to gather information about the production, marketing and distribution of Zambian contemporary music by Zambian musicians. Very little information has been documented about the development of the Zambian music industry, particularly from the perspective of those within the industry. As a result this study attempted to add to this knowledge. To achieve this Pierre Bourdieu’s theoretical concepts of ‘fields’ and ‘habitus’ were used to gain an understanding of what affects the creation of art forms such as music as well as the structures and underlying processes within the music industry. The concept of ‘fields’ usefully framed an explanation of the struggles and connections within the various fields in the industry and a view of the Zambian music industry in relation to the international industry. To gather the data necessary for this research a qualitative approach was utilised involving semistructured in-depth questionnaires from twenty-three interviewees. These interviewees were selected from various sectors of the music industry in an attempt to gain a holistic perspective of the industry in the 21st century. There were four subgroups: the artists (singers, rappers and instrumentalists), managers, radio DJs, and a miscellaneous group made up of the remaining participants, a Sounds Arcade manager, a music journalist, the National Arts Council Chairperson, a Zambia Music Copyright Protection Society (ZAMCOPS) administrator, and the then President of the Zambia Association of Musicians (ZAM). With the limited exposure to formal musical, instrumental and production training, musicians, instrumentalists, managers and studio production personnel interviewed had had to learn their craft on-the-job. This limited knowledge appears to add to the hindrance of the development of careers and the industry, particularly in terms of how to register and distribute music correctly to earn royalties and protect their intellectual property against piracy. From an institutional level piracy is being addressed more forcefully with the introduction of holograms and the tightening of policies and structures to do with the music industry.
- Full Text:
- Date Issued: 2015
Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019