Transcendence

Soundings ◽  
2021 ◽  
Vol 79 (79) ◽  
pp. 138-152
Author(s):  
Shabaka Hutchings ◽  
Ashish Ghadiali
Keyword(s):  
South African ◽  
Classical Music ◽  
Art Music ◽  
African Music ◽  
African Countries ◽  
The West ◽  
Music Improvisation ◽  
South African Music ◽  
The Relationship

An interview with musician Shabaka Hutchings, leader of the bands Sons of Kemet, The Comet is Coming and Shabaka and the Ancestors. The conversation starts with a discussion of multiplicity and unity, and the imperial habit of reducing multiplicity down to a single dominant unity, whether through imposing one religion, one view of empire, or one recognised form of art music. It looks at the different ways of viewing culture in the West and in African countries. And it discusses the relationship between jazz and classical music; improvisation; musical dialogue; South African music; transcendence through music; and musical healing.

South African Music in the History of Epidemics

2017 ◽  
Vol 54 (1-2) ◽  
pp. 87 ◽  
Author(s):  
Austin C. Okigbo
Keyword(s):  
South African ◽  
African Music ◽  
History Of ◽  
South African Music

scholarly journals Health-promoting behaviors in South African music students: A replication study

2014 ◽  
Vol 43 (6) ◽  
pp. 779-792 ◽  
Author(s):  
Clorinda R. Panebianco-Warrens ◽  
Lizelle Fletcher ◽  
Gunter Kreutz
Keyword(s):  
South African ◽  
Replication Study ◽  
Music Students ◽  
African Music ◽  
Health Promoting Behaviors ◽  
Health Promoting ◽  
South African Music

scholarly journals DEVELOPING GUIDELINES FOR SOUTH AFRICAN MUSIC LIBRARIANS

Mousaion ◽  
2016 ◽  
Vol 32 (3) ◽  
pp. 69-92
Author(s):  
Fiona Polak ◽  
Athol Leach
Keyword(s):  
South African ◽  
Fair Use ◽  
World Intellectual Property Organization ◽  
African Music ◽  
The South ◽  
Fair Dealing ◽  
Copyright Laws ◽  
South African Music ◽  
Digital Formats ◽  
Archive Project

Music librarians must have knowledge of the copyright laws which govern the transferring of music from the old analogue form to the new digital formats. These laws were a particular concern of the South African Music Archive Project (SAMAP) which aimed to create an online resource for indigenous South African music particularly that of musicians suppressed during the apartheid years. Polak’s (2009) study was an offshoot of SAMAP. This article draws on her study and identifies the specific problems encountered by music librarians with regard to digital copyright law pertaining to music. The guiding theoretical framework is based on the Berne Convention (2014) and the World Intellectual Property Organization (WIPO) Copyright Treaty (1996) which provide the overarching international framework for guiding copyright. The literature review focuses on the international and national legislation; copyright in original recordings; duration of copyright; fair use, the public domain and information commons; copyright and fair dealing; and the South African Copyright Act (No. 98 of 1978). A survey conducted by e-mail identified problem areas experienced by the music librarians regarding the digital music copyright laws in South Africa. Two sets of guidelines for South African music librarians were formulated using their responses and the literature reviewed, and recommendations are made.

Improving the catch efficiency of the West Coast rock lobster, Jasus lalandii

2000 ◽  
Vol 51 (6) ◽  
pp. 613 ◽  
Author(s):  
D. Loewenthal ◽  
S. Mayfield ◽  
G. M. Branch
Keyword(s):  
Weight Loss ◽  
South African ◽  
West Coast ◽  
Capture Rate ◽  
Catch Rate ◽  
Rock Lobster ◽  
The South ◽  
The West ◽  
The Relationship

The South African commercial rock-lobster industry employs an average soak time of 22 h for traps. Experiments were undertaken to test (1) the rate of bait loss with soak time and the effect that protection of the bait has on bait loss, (2) the relationship between catch rate (numbers per trap) and soak time for traps with either protected or unprotected bait, and (3) the effect of two bait types (whole maasbanker and hake heads) on the catch of rock lobsters. There were substantial losses of unprotected bait within 6 h; substantially less weight loss was observed from protected bait even after a 48-h soak time. The numbers of rock lobsters caught in traps with unprotected bait were low relative to the capture rate with protected bait. The highest capture rate occurred after 6 h for unprotected bait and 6–12 h for protected bait. There was no significant effect of bait type (maasbanker v. hake heads) on the number or size of rock lobsters. To optimize catch efficiency, the commercial industry should use protected bait and soak times as short as 6–12 h.

Beyond Memory

2009 ◽  
Author(s):  
Max Mojapelo ◽  
Sello Galane
Keyword(s):  
South Africa ◽  
Popular Music ◽  
South African ◽  
Future Generations ◽  
Black Communities ◽  
African Music ◽  
The South ◽  
Accurate Picture ◽  
History Of ◽  
South African Music

South Africa possesses one of the richest popular music traditions in the world - from marabi to mbaqanga, from boeremusiek to bubblegum, from kwela to kwaito. Yet the risk that future generations of South Africans will not know their musical roots is very real. Of all the recordings made here since the 1930s, thousands have been lost for ever, for the powers-that-be never deemed them worthy of preservation. And if one peruses the books that exist on South African popular music, one still finds that their authors have on occasion jumped to conclusions that were not as foregone as they had assumed. Yet the fault lies not with them, rather in the fact that there has been precious little documentation in South Africa of who played what, or who recorded what, with whom, and when. This is true of all music-making in this country, though it is most striking in the musics of the black communities. Beyond Memory: Recording the History, Moments and Memories of South African Music is an invaluable publication because it offers a first-hand account of the South African music scene of the past decades from the pen of a man, Max Thamagana Mojapelo, who was situated in the very thick of things, thanks to his job as a deejay at the South African Broadcasting Corporation. This book - astonishing for the breadth of its coverage - is based on his diaries, on interviews he conducted and on numerous other sources, and we find in it not only the well-known names of recent South African music but a countless host of others whose contribution must be recorded if we and future generations are to gain an accurate picture of South African music history of the late 20th and early 21st centuries.

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