An intellectual history of institutionalised music studies in South Africa

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dc.contributor.advisorVenter, Carinaen_ZA
dc.contributor.advisorMuller, Stephanusen_ZA
dc.contributor.authorStruwig, Miekeen_ZA
dc.contributor.otherStellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music.en_ZA
dc.date.accessioned2024-03-05T18:35:49Z
dc.date.accessioned2024-04-26T10:41:53Z
dc.date.available2024-03-05T18:35:49Z
dc.date.available2024-04-26T10:41:53Z
dc.date.issued2024-03
dc.descriptionThesis (PhD)--Stellenbosch University, 2024. en_ZA
dc.description.abstractENGLISH ABSTRACT: This thesis constructs an intellectual history of institutionalised music studies in twentieth-century South Africa that attends to the establishment and consolidation of the disciplinarity of music, the work of individuals instrumental in this larger project, as well as the ways in which the discipline has responded to political changes and paradigm shifts. As such, it considers the establishment of music departments at South African universities, the emergence of scholarly journals and societies as well as important scholarly projects and initiatives. The focus on institutionalised music studies brings to bear an emphasis on work produced by scholars and students affiliated to universities or research institutes. This material has been supplemented with extensive archival research at the National Archives of South Africa, the National Afrikaans Literary Museum and Research Centre, the International Library of African Music and Stellenbosch University’s Documentation Centre for Music. Chapter One places this study within the context of current calls for disciplinary introspection and transformation. The establishment of the first departments of music at South African universities and the individuals who played important roles in this project are documented in Chapter Two. Particular attention is paid to Percival Kirby (the first music scholar appointed to an academic position at a South African university) and Jan Bouws, whose work on South African music and subsequent appointment at Stellenbosch University represented the start of a burgeoning Afrikaans music historiographical practice. Chapter Three documents the way in which academics sought legitimacy and impetus for the field of music studies outside of these educational institutions, tracing these trajectories of disciplinary legitimisation and the networks of individuals they involved. In doing so, it foregrounds societies, periodicals and individuals who emerge from this process as important figures. Hugh Tracey, the African Music Society, the International Library of African Music and African Music are also considered here. The South African Music Encyclopedia (SAME) and its editor, Jacques Philip Malan, are extensively considered in Chapter Four. Through a consideration of SAME’s philosophical and ideological underpinnings, the effect of apartheid on scholars and academic projects is foregrounded. Chapter Five provides an overview of disciplinary consolidation (the establishment of the South African Musicological Society); contestations (by the Ethnomusicology Symposia, scholars such as Christopher Ballantine and Klaus Heimes and the introduction of Marxist critiques) and proliferations (particularly in the work of the South African Music Educator’s Society, the field of multicultural music education and the establishment of music departments at Black universities). In doing so, it addresses the agency exercised by individual academics during the 1980s and early 1990s. This account of personal and scholarly agency troubles the idea of a binary division in South African music studies, roughly equivalent to political categories of reactionary or enlightened thinking.en_ZA
dc.description.abstractAFRIKAANSE OPSOMMING: Hierdie tesis skep ’n intellektuele geskiedenis van geïnstitusionaliseerde musiekstudies in Suid-Afrika gedurende die twintigste eeu. Dit behels die beskrywing van die stigting en konsolidering van die dissiplinariteit van musiek, die werk van belangrike individue, asook die maniere waarop die dissipline in interaksie getree het met politieke- en paradigma verskuiwings. As sulks, oorweeg dit die stigting van musiekdepartemente aan Suid-Afrikaanse universiteite, die ontwikkeling van akademiese joernale en verenigings, asook belangrike akademiese projekte en inisiatiewe. Die fokus in hierdie studie op geïnstitusionaliseerde musiekstudies beteken ’n fokus op die werk van akademici en studente wat verbind was aan universiteite of navorsingsinstitute. Hierdie fokus is aangevul deur omvattende argivale navorsing by die Nasionale Argief van Suid-Afrika, die Nasionale Afrikaanse Letterkundige Museum en Navorsingsentrum, die International Library of African Music en Stellenbosch Universiteit se Dokumentasiesentrum vir Musiek. Hoofstuk Een plaas hierdie studie binne die konteks van huidige vraagstukke rondom dissiplinêre introspeksie en transformasie. Die stigting van die eerste musiekdepartmente aan Suid-Afrikaanse universiteite en die individue wat belangrike rolle in hierdie proses gespeel word oorweeg in Hoofstuk Twee. Aandag word in besonder geskenk aan Percival Kirby (die eerste musiekakademikus wat by ’n Suid- Afrikaanse universiteit aangestel is) en Jan Bouws, wie se navorsing oor Suid-Afrikaanse musiekgeskiedenis en uiteindelike aanstelling by Stellenbosch Universiteit die ontluiking van ’n musiek-historiografiese bemoeienis in Afrikaans verteenwoordig. Hoofstuk Drie dokumenteer die pogings van akademici om dissiplinêre geloofwaardigheid en momentum vir musiekstudies buite die musiekdepartmente van universiteite te skep. Dit fokus dus op akademiese tydskrifte en individue wat as belangrike figure in hierdie proses na vore tree. Hugh Tracey, die African Music Society, International Library of African Music en African Music word hier onder die loep geneem. Die Suid-Afrikaanse Musiekensiklopedie en die redakteur daarvan, Jacques Philip Malan, kom in Hoofstuk Vier aan die bod. ’n Oorweging van die filosofiese en ideologiese denke wat die ensiklopedie rig, belig die effek van apartheid op akademici en akademiese projekte. Hoofstuk Vyf verskaf ’n oorsig van dissiplinêre konsolidasie (die stigting van die Suid- Afrikaanse Musiekwetenskapsvereniging); betwisting (aangevoor deur die Etnomusiekologie Simposia, akademici soos Christopher Ballantine en Klaus Heimes, asook die aanwending van Marxistiese teorieë) en toenemende deelname (spesifiek bemiddel deur die werk van die South African Music Educator’s Society, die studieveld van multikulturele musiekopvoedkunde en die stigting van musiekdepartmente by Swart universiteite). Hierdie oorsig beklemtoon die agentskap van individue in die 1980s en vroeë 1990s. As sulks vertroebel hierdie hoofstuk die idee van ’n binêre verdeling in Suid- Afrikaanse musiek studie as ’n eenvoudige weerspieëling van politieke kategorieë soos reaksionêre- of verligte denke.af_ZA
dc.description.versionDoctorateen_ZA
dc.format.extentx, 237 pages : illustrations (some color)en_ZA
dc.identifier.urihttps://scholar.sun.ac.za/handle/10019.1/130248
dc.language.isoen_ZAen_ZA
dc.language.isoen_ZAen_ZA
dc.publisherStellenbosch : Stellenbosch Universityen_ZA
dc.rights.holderStellenbosch Universityen_ZA
dc.subject.lcshMusic -- Instruction and study -- South Africa -- Historyen_ZA
dc.subject.lcshMusic in universities and colleges -- South Africaen_ZA
dc.subject.lcshMusic -- Historiographyen_ZA
dc.subject.lcshApartheid -- South Africa -- Musicen_ZA
dc.subject.nameUCTDen_ZA
dc.titleAn intellectual history of institutionalised music studies in South Africaen_ZA
dc.typeThesisen_ZA
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