South African Music Studies https://www.ajol.info/index.php/samus <p>SAMUS:<em> South African Music Studies</em> is the official organ for the South African Society for Research in Music (SASRIM). It gives priority to the publication of research on South African music, but continues to represent the wider field of research interests in the country and in the rest of Africa. The journal invites work from any of the sub-disciplines in music studies, including musicology, ethnomusicology, popular music studies, music theory and music education, as well as research that draws connections between music and other fields in the arts and humanities. </p><p>Other websites related to this journal: <a title="http://reference.sabinet.co.za/sa_epublication/samus1" href="http://reference.sabinet.co.za/sa_epublication/samus1" target="_blank">http://reference.sabinet.co.za/sa_epublication/samus1</a></p><p>More information can be found on <a title="http://www.sasrim.ac.za" href="http://www.sasrim.ac.za" target="_blank">http://www.sasrim.ac.za</a> This journal is also indexed in RILM Abstracts, The Music Index.</p> The South African Society for Research in Music en-US South African Music Studies 0258-509X Copyright for articles published in this journal is retained by the journal. Editorial: On Loss https://www.ajol.info/index.php/samus/article/view/201405 <p>No Abstract</p> Juliana M. Pistorius Stephanus Muller Copyright (c) 2020-11-09 2020-11-09 39 1 17 Whose Music is Ethnic? A Response to Winfried Lüdemann https://www.ajol.info/index.php/samus/article/view/201407 <p>No Abstract</p> Etienne Viviers Copyright (c) 2020-11-09 2020-11-09 39 20 22 ‘I might seem out of place here’: Exploring Whiteness and Belonging in Hog Hoggidy Hog’s Oink! https://www.ajol.info/index.php/samus/article/view/201408 <p>Hog Hoggidy Hog were a band from Cape Town, who integrated punk, ska, metal, rock, jazz and ghoema into music they aimed to be ‘visceral’, and to ‘transcend genre’ – a music they named ‘Pork Rock’. During the band’s career, which spanned two decades, they performed across South Africa and internationally, and released four full-length studio albums and three EP’s. The band’s tenure as a leading force in South African underground music ended with the death of their singer George Bacon in 2015. Their penultimate studio album, Oink!, released in 2004, saw Hog Hoggidy Hog exploring themes such as drug addiction, their move from underground to mainstream, self-loathing and South African post-apartheid racial tension. Musically Oink! features greater integration of musical styles and genres as well as a slicker production than in previous albums, factors which culminate in the band’s cover of Johnny Clegg’s ‘Great Heart’.<br>This paper takes the arguments made by Samantha Vice in her 2010 article, ‘How Do I Live in This Strange Place?’, as a theoretical framework to investigate Hog Hoggidy Hog’s expression of racial discomfort. Through discussions of punk’s political history, lyrical content and the musical hybridity of Oink!, I argue that this album represents the positioning of white South Africans as that of simultaneous belonging and not belonging.</p> Marc Röntsch Copyright (c) 2020-11-09 2020-11-09 39 23 43 ‘They called me the “Ag Pleez Deddy” man’: On the (Be)longing of Jeremy Taylor https://www.ajol.info/index.php/samus/article/view/201409 <p>Jeremy Taylor, known for his work as a satirist, songwriter and political commentator in South Africa and England, currently resides in the small rural town of Gizeux, France. Although widely recognised for his song ‘Ag Pleez Deddy’, Taylor is also responsible for composing the original music for the musical revue<em>, Wait a Minim</em>, and various other songs including ‘Piece of Ground’ that was recorded by Miriam Makeba in 1966. Arriving in South Africa in 1959, Taylor has had a unique vantage point from which to view the growth and development of South African folk music. In this interview, we explore Taylor’s musical career and reflect on his life and experiences of apartheid South Africa. The interview has been edited, annotated, and augmented with unpublished material from the Jeremy Taylor collection in the Hidden Years Music Archive.1 This archive is rich in newspaper clippings, texts, music manuscripts and photographs and is held by the Documentation Centre for Music, Stellenbosch University.</p> Lizabé Lambrechts Jeremy Taylor Copyright (c) 2020-11-09 2020-11-09 39 44 86 Dancing with Philosophy: A Ficto-Critical Report on Timothy Taylor’s Critique of Kevin Volans https://www.ajol.info/index.php/samus/article/view/201410 <p>No Abstract</p> Martin Scherzinger Copyright (c) 2020-11-09 2020-11-09 39 92 133 Between the Musical Anti- and Post-Apartheid: Structures of Crisis in Kevin Volans’s String Quartet No. 5, Dancers on a Plane https://www.ajol.info/index.php/samus/article/view/201411 <p>Composed in 1994, Kevin Volans’s String Quartet No. 5, Dancers on a Plane, is a work that in many ways resounds the crisis faced by anti-apartheid artists during the transition to democracy in South Africa, which has to do with maintaining a sense of critical traction while imagining the post-apartheid in music. In this article, I frame the quartet’s use of theoretical concepts of Venda music and soundscape recordings, along with a double strategy of non-teleological and teleological formal design, in broader discussions of post-apartheid cultural theory. In particular, I draw on J. M. Coetzee’s notion of ‘bondage’ and Mbulelo Vizikhungo Mzamane’s pursuit of ‘interiority’ as dialectical positions in which I situate two seemingly contradictory analyses of the work. While these two concepts demarcate vastly different artistic responses to the post-apartheid condition, they are both founded in the realisation that after apartheid ends, critical artistic practices are plunged into a crisis of moving beyond an anti-apartheid expression. My aim in this article, through a third analytical turn, is to show how Volans’s quartet can be read as articulating the structure of this crisis. It is through this turn that I show how the work strongly resounds tensions that mark the birth of the post-apartheid cultural arena. Read in this way, the work not only reveals the difficulties of moving beyond anti-apartheid art, but it produces the conditions of possibility necessary for a critical music and, importantly, a critical musicology, to satisfy in the years after the first democratic elections.</p> William Fourie Copyright (c) 2020-11-09 2020-11-09 39 134 175 Report on the 2019 Kevin Volans Lecture Series in Johannesburg https://www.ajol.info/index.php/samus/article/view/201412 <p>No Abstract</p> Jaco Meyer Copyright (c) 2020-11-09 2020-11-09 39 176 181 On Composition and Teaching – An Interview with Kevin Volans https://www.ajol.info/index.php/samus/article/view/201522 <p>No Abstract</p> Jaco Meyer Copyright (c) 2020-11-11 2020-11-11 39 182 208 This Is How It Is: A Tribute to Kevin Volans https://www.ajol.info/index.php/samus/article/view/201523 <p>No Abstract</p> Andrew Hamilton Copyright (c) 2020-11-11 2020-11-11 39 209 210 Bridging Art and Traditional Music at the University of Ghana: Intellectual Legacies of J.H. Kwabena Nketia and Akin Euba https://www.ajol.info/index.php/samus/article/view/201524 <p>The intellectual legacies of J.H. Kwabena Nketia (1921-2019) and Akin Euba (b. 1935) continue to shape how African art music is taught and composed at the University of Ghana’s (UG) Department of Music. This paper outlines the historical formation of their approaches to composition and research as a context for examining the 82 Master of Philosophy (M.Phil.) theses completed in the department between 1992 and 2017. Our survey reveals that African art music, which centers on the reimagining of traditional music in new compositions, is a dominant research topic alongside ethnomusicological studies of traditional, popular and church music in Ghana. An analysis of three African art music compositions drawn from the M.Phil. theses demonstrates the challenges and possibilities of creatively engaging traditional music as well as the integral role UG has had in providing physical and intellectual contexts for these processes. The authors argue that in spite of a Eurocentric curriculum that focuses on Western art music theory, African art music, as shaped by Nketia and Euba, provides a framework for constructing notions of traditional music, bridging these notions with art music practices, and providing new contexts in which it is taught and performed</p> Colter Harper N. Laryea Akwetteh Copyright (c) 2020-11-11 2020-11-11 39 213 238 ‘Nothing’s straightforward, I’m afraid’: An Interview with John Joubert at his Home at 63 School Road, Birmingham, 12 January 2001 https://www.ajol.info/index.php/samus/article/view/201525 <p>This interview with John Joubert took place shortly after I had complet ed my DPhil at Oxford, where I had written, as part of my dissertation, a chapter on Joubert’s Second Symphony (published in this journal in 1999/2000, vol. 19/20 as ‘Protesting Relevance: John Joubert and the Politics of Music’). I no longer recall the exact reason for the interview, and reading through it in 2020, I surmise that I had aimed at a conversation prompting John to talk about his life and career in broadly socio- political and aesthetic terms. Having just written about his Second Symphony, I was keenly aware of how little research had been conducted on him and his music, and I must have set up the interview with the view to conducting further research at a later stage. As the transcript shows, I was an inexperienced interviewer, with the result that the interview meanders needlessly, and stutters in quite a few places. For all his wonderful qualities – I remember him as a gentle and generous man – John’s deliberate, thoughtful, undemonstrative and unassuming speech and his restrained manner did little to infuse energy into the conversation where my questioning impeded it. Everything about his manner suggested that he believed that ‘nothing is straightforward’, as he puts it towards the end of our conversation, and he was not prone to provocation or controversial statements. At its best, the interview does provide valuable perspectives on the composer and his ideas and it is published here to mark his passing in 2019. The interview has been edited to enhance fluency and delete some redundancy.</p> Stephanus Muller Copyright (c) 2020-11-11 2020-11-11 39 239 262 I Blog What I Miss: Reflections on the Decline of South African Music Journalism https://www.ajol.info/index.php/samus/article/view/201526 <p>No Abstract</p> Gwen Ansell Copyright (c) 2020-11-11 2020-11-11 39 269 289 A Sisgwenjazz Selection https://www.ajol.info/index.php/samus/article/view/201527 <p>No Abstract</p> Gwen Ansell Copyright (c) 2020-11-11 2020-11-11 39 290 314 ‘Being in the Zone’: Towards a Conceptual Understanding of Flow during Optimal Solo Performance https://www.ajol.info/index.php/samus/article/view/201528 <p>This article explores the concept of ‘being in the zone’ during optimal solo performance, from the performer’s perspective. The research forms part of a larger qualitative study which explores the role of pianists’ emotional engagement during solo performance (Foxcroft 2014). Interpretative phenomenological analysis (IPA) was used to analyse data collected from the research participants who consisted of eight concert pianists (four students and four professionals), each of whom performed solo recitals lasting 60 -70 minutes. The pianists were interviewed by means of semi-structured, in-depth interviews immediately after their performances. The interview data was collated from the semi-final round of the 2011 National University of South Africa (UNISA) piano competition (student pianists), and professional performances in South African concert halls in 2011/2012 (professional pianists). The results suggest that during optimal performance, performers appear to transcend reality and enter a ‘zone’, a blissful state of altered consciousness where performers fulfil their creative potential. The performers’ experience when in the zone is synonymous with flow (Csíkszentmihályi 1990) and is characterised by intense focus, creative engagement, and absolute absorption in an activity. Several factors facilitate or inhibit musical flow but do not guarantee its occurrence.</p> Catherine Foxcroft Copyright (c) 2020-11-11 2020-11-11 39 314 344 Review Article: Arnold Schoenberg’s Op 11/1, Friedrich Hartmann’s Fully-Chromaticised Scales and Analytical System, and the Henk Temmingh-Bernard van der Linde Debate https://www.ajol.info/index.php/samus/article/view/201529 <p>This article reviews a debate that took place between Henk Temmingh and Bernard van der Linde over the course of three years in the discursive space of the annual conference hosted by the Musicological Society of Southern Africa. Concerning analytical approaches to Arnold Schoenberg’s piano piece Op 11/1, it revisits the arguments of the main protagonists of the debate. Both Temmingh and Van der Linde were ignorant of important international discursive contexts pertaining to their views, and the review situates their exchange ex post facto in these contexts. An important South African subtext to the debate was the position of Friedrich Hartmann’s analytical theory of fully-chromaticised scales, and the degree to which this theory was readily accepted in the South African musicological fraternity. The article notes the status of a disciplinary debate of this nature in the South African socio-political context of the time. Not only does this debate reveal something about the local and international insularity of musicological discourse in the South Africa of the time, but it also begs the question as to the ideological gains to be had by analytically positioning Schoenberg with respect to the nineteenth century as opposed to the twentieth century.</p> Jeffrey Brukman Copyright (c) 2020-11-11 2020-11-11 39 345 376