Composing Apartheid
Music for and Against Apartheid
Published on 1. June 2008
Book
Paperback/Softback
320 pages
978-1-86814-456-3 (ISBN)
Description
Composing Apartheid is the first book ever to chart the musical world of a notorious period in world history, apartheid South Africa. It explores how music was produced through, and was productive of, key features of apartheid's social and political topography, as well as how music and musicians contested and even helped to conquer apartheid. The collection of essays is intentionally broad, and the contributors include historians, sociologists and anthropologists, as well as ethnomusicologists, music theorists and historical musicologists. The essays focus on a variety of music (jazz, music in the Western art tradition, popular music) and on major composers (such as Kevin Volans) and works (Handel's Messiah). Musical institutions and previously little-researched performers (such as the African National Congress's troupe-in-exile, Amandla) are explored. The writers move well beyond their subject matter, intervening in debates on race, historiography, and postcolonial epistemologies and pedagogies.
Reviews / Votes
This is one of the best books to have emerged from South African musicology in the last decade... It opens up a new level of discourse about music during the apartheid era: a level on which the theoretical, the ethical, the historical and the aesthetic play against each other in newly meaningful ways. Roger Parker, Cambridge University, UKMore details
Language
English
Place of publication
Johannesburg
South Africa
Product notice
Paperback (trade)
Illustrations
29 black and white illustrations
Dimensions
Height: 240 mm
Width: 159 mm
Thickness: 20 mm
Weight
503 gr
ISBN-13
978-1-86814-456-3 (9781868144563)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Classification
Other editions
Additional editions
E-Book
06/2008
Abingdon Press
€29.49
Available for download
Persons
Grant Olwage is a professor at the Wits School of Arts, University of the Witwatersrand, Johannesburg.
Gary Baines is Associate Professor in the History Department at Rhodes University, Grahamstown.
Ingrid Byerly is Visiting Assistant Professor in the Department of Cultural Anthropology at Duke University. Previous recipient of the American Council of Learned Societies Fellowship, a Fulbright Award, and the Charles Seeger Prize from the Society for Ethnomusicology.
Christopher Cockburn lectures in music theory at the University of KwaZulu-Natal, and is well known in South Africa and the United Kingdom as a concert organist and choral conductor.
David Coplan is Professor Emeritus and Chair in Social Anthropology at the University of the Witwatersrand, Johannesburg.
Gary Baines is Associate Professor in the History Department at Rhodes University, Grahamstown.
Ingrid Byerly is Visiting Assistant Professor in the Department of Cultural Anthropology at Duke University. Previous recipient of the American Council of Learned Societies Fellowship, a Fulbright Award, and the Charles Seeger Prize from the Society for Ethnomusicology.
Christopher Cockburn lectures in music theory at the University of KwaZulu-Natal, and is well known in South Africa and the United Kingdom as a concert organist and choral conductor.
David Coplan is Professor Emeritus and Chair in Social Anthropology at the University of the Witwatersrand, Johannesburg.
Content
Introduction: Grant Olwage
Chapter 1: Back to the Future? Idioms of 'displaced time' in South African composition
Christine Lucia
Chapter 2: Apartheid's Musical Signs: Reflections on black choralism, modernity and race-ethnicity in the segregation era
Grant Olwage
Chapter 3: Discomposing Apartheid's Story: Who owns Handel?
Christopher Cockburn
Chapter 4: Kwela's White Audiences: The politics of pleasure and identification in the early apartheid period
Lara Allen
Chapter 5: Popular Music and Negotiating Whiteness in Apartheid South Africa
Gary Baines
Chapter 6: Packaging Desires: Album covers and the presentation of apartheid
Michael Drewett
Chapter 7: Musical Echoes: Composing a past in/for South African jazz
Carol A. Muller
Chapter 8: Singing Against Apartheid: ANC cultural groups and the international anti-apartheid struggle
Shirli Gilbert
Chapter 9: 'Nkosi Sikelel' iAfrika': Stories of an African anthem David Coplan and Bennetta Jules-Rosette
Chapter 10: Whose 'White Man Sleeps' Aesthetics? and politics in the early work of Kevin Volans
Martin Scherzinger
Chapter 11: State of Contention: Recomposing apartheid at Pretoria's State Theatre, 1990-1994. A personal recollection
Brett Pyper
Chapter 12: Decomposing Apartheid: Things come together
Ingrid Byerly
Chapter 13: Arnold van Wyk's Hands
Stephanus Muller
Chapter 1: Back to the Future? Idioms of 'displaced time' in South African composition
Christine Lucia
Chapter 2: Apartheid's Musical Signs: Reflections on black choralism, modernity and race-ethnicity in the segregation era
Grant Olwage
Chapter 3: Discomposing Apartheid's Story: Who owns Handel?
Christopher Cockburn
Chapter 4: Kwela's White Audiences: The politics of pleasure and identification in the early apartheid period
Lara Allen
Chapter 5: Popular Music and Negotiating Whiteness in Apartheid South Africa
Gary Baines
Chapter 6: Packaging Desires: Album covers and the presentation of apartheid
Michael Drewett
Chapter 7: Musical Echoes: Composing a past in/for South African jazz
Carol A. Muller
Chapter 8: Singing Against Apartheid: ANC cultural groups and the international anti-apartheid struggle
Shirli Gilbert
Chapter 9: 'Nkosi Sikelel' iAfrika': Stories of an African anthem David Coplan and Bennetta Jules-Rosette
Chapter 10: Whose 'White Man Sleeps' Aesthetics? and politics in the early work of Kevin Volans
Martin Scherzinger
Chapter 11: State of Contention: Recomposing apartheid at Pretoria's State Theatre, 1990-1994. A personal recollection
Brett Pyper
Chapter 12: Decomposing Apartheid: Things come together
Ingrid Byerly
Chapter 13: Arnold van Wyk's Hands
Stephanus Muller