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SAMUS : South African Journal of Musicology

Published by the Musicological Society of Southern Africa.
Articles on South African and other musics; reviews of books, scores, software and multimedia products, and recordings; conference reports and other news.,
This journal is continued by SAMUS : South African Music Studies
Publisher | South African Society for Research in Music (SASRIM) |
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Frequency | Annually |
Coverage | Volume 19/20 2000 - Volume 25 2005 |
Accreditation(s) |
Department of Higher Education and Training (DHET) |
Language | English/Afrikaans |
Journal Status | Not Active |
Collection(s) |
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Uit die Diepte van Ons See : an archetypal interpretation of selected examples of Afrikaans patriotic music, SAMUS : South African Journal of Musicology, Vol. 23 2003 : pp.13-41 : corrigendum
Uit die Diepte van Ons See : an archetypal interpretation of selected examples of Afrikaans patriotic music, SAMUS : South African Journal of Musicology, Vol. 23 2003 : pp.13-41
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Three Rhythmic Etudes, Kevin Volans : score review
As a pianist of considerable virtuosity, it is hardly surprising that Kevin Volans has turned his creative attention to the topic of the 'etude'. He has already written a number of piano scores, from the very early Monkey Music (1976 revd. 1981), to the two-piano essay in Minimalism, Cicada (1994). There is also a Piano Concerto (1995) - with two more in the pipeline. These various works represent different moments in Volans's now considerable oeuvre, but there is no doubt that they move chronologically towards greater and greater clarity of intention. Volans described his goal of the 1990s as doing away with style, and now he is grappling with the very notion of content itself. Abstraction, complete non-referentiality, a music that defines itself in terms of purely sonic material: in this sense, at least, Volans is a modernist, not a post-modernist, as he is in his striving for absolute organic coherence and concentration of thought.
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Playing with Identities in Contemporary Music in Africa, Mai Palmberg and Annemette Kirkegaard (Eds.) : book review
Africa has consistently captured the imagination of the Western world with a mixed bag of results. Grim realities as a consequence of such engagement are too many, diverse and indeed obvious to recount. Culture has been part of the West-Africa axis as an object of vilification, appropriation and painstaking study in diverse forms and fields. It is to the latter that my interest lies as I explore the contents of this book.
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Music, Power and Diversity: Encountering South Africa, Johanna Mannergren Selimovic : book review
This book deals with various aspects of South African music and society in the pre- and post-apartheid dispensation, particularly the extensive contacts of Swedish companies that have been actively involved in development aid to South Africa. The subject matter of the book is spread across three divisions with the following titles: Music and Diversity, Music and Education, and Music and Development Aid. Good pictorial material illustrates some of the aspects and personalities discussed in the text.
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Learning the Musical Arts in Contemporary Africa, Informed by Indigenous Knowledge Systems, Meki Nzewi : book review
In view of the paucity of published material for the teaching and learning of the musical arts (Music, Dance and Drama) in African schools, the two volumes of this book should be welcome news for 'the majority of educators in South Africa, who are not trained in the musical arts, yet have to teach the Arts and Culture learning area in the General Education and Training band of the National Curriculum (Grades R-9)' (Smit 2006). Nzewi should be admired for his effort in making this addition to the literature on African music education. Nzewi states that 'The aim of the entire series is to provide instructional materials for musical arts education that derives primarily from African practice-based educational perspectives, theoretical principles and human experiences' (Vol.1, viii). He is emphatic that 'This series derives from the original indigenous philosophies, theories, and learning methods of Africa' (Ibid). This raises the first major problem I have with the series. I am not really convinced that the content and methodology of both volumes of this book truly reflect original indigenous philosophies, theories, and learning methods of Africa. This will be discussed later. Nzewi uses a unit-based system in this series as a framework for providing knowledge and guidelines about African musical arts. He also mentions and discusses five concepts, each presented as a unit, on which all teaching and learning of African musical arts, informed by African indigenous knowledge systems, must be based. These concepts are listed as follows: Rhythm; Pitch, tone and melody; Sources of musical sound; Societal need, utilization and presentation; and Ensemble.
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© Publisher: South African Society for Research in Music (SASRIM)

© Publisher: South African Society for Research in Music (SASRIM)