Vol. 43 No. 1 (2023): Vol 43-44 2023/2024 | South African Music Studies

Published: 2025-01-08

Insiders on the Margins: A Conversation with Susan Barry

Phuti Sepuru

8-26

DOI:

10.4314/samus.v43i1.01

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Xenochronic Encounters at the Africa Open Improvising Collective

Esther Marie Pauw, Garth Erasmus

27-46

DOI:

10.4314/samus.v43i1.02

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Ife and Bilal: Reflections on an Afro-Asian intercultural, practice-based intervention

Cara Stacey, Mark Aranha, Bronwen Clacherty, Kristy Stone

47-61

DOI:

10.4314/samus.v43i1.03

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Sex Machines: Performing and Critiquing Masculinity in the Music of Stereo Zen

Marc Röntsch

62-75

DOI:

10.4314/samus.v43i1.04

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‘The Diary of an Independent Zulu Queer Queen’: An Analysis of Toya Delazy’s Curated Persona on Instagram

Lindsay Friday

76-93

DOI:

10.4314/samus.v43i1.05

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Lecturers’ Views on Teaching Composition at South African Universities: A Qualitative Enquiry

Frelét de Villiers, Chesney Palmer

94-107

DOI:

10.4314/samus.v43i1.06

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Community Music Education for Black Africans during Apartheid and in Post-Apartheid South Africa

Bernett Nkwayi Mulungo

108-120

DOI:

10.4314/samus.v43i1.07

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Assessing Practice Strategies in First-year South African Music Students: Considering the Value of a Standardised Practice Questionnaire

Clorinda Panebianco, Tessa Rhoodie

121-136

DOI:

10.4314/samus.v43i1.08

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Reframing the Hybridity Discourse in TwentyFirst Century African Art Music: A Composer’s Perspective

Chidi Obijiaku

137-161

DOI:

10.4314/samus.v43i1.09

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Some (after)thoughts on Arnold van Wyk’s Ricordanza (1984)

Nicol Viljoen

162-180

DOI:

10.4314/samus.v43i1.10

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Gideon Fagan’s Late Style: the Suite for Strings (1974)

Winfried Lüdemann

181-209

DOI:

10.4314/samus.v43i1.11

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The Theory of Musical Forces: Filling Some Gaps with Integrations and Expansions

Jaco Meyer

210-224

DOI:

10.4314/samus.v43i1.12

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The Interplay between Flow States in Music Listening Experiences and Self-Actualisation: An Autoethnography of a Queer Music Educator

Conroy Cupido

225-258

DOI:

10.4314/samus.v43i1.13

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Musical Forces as a Tool for Music Analysis: Understanding Syrinx by Claude Debussy Differently

Jaco Meyer

259-273

DOI:

10.4314/samus.v43i1.14

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The Merging of Stasis and Forward Movement in Marimba for Solo Flute by Hendrik Hofmeyr

Bertha Spies

274-289

DOI:

10.4314/samus.v43i1.15

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Book Review: Music, Art and Emotion: Depictions of the Night Inspired by Romantic Art Song (2022)

Drummond

290-291

DOI:

10.4314/samus.v43i1.16

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Book review: The Artistry of Bheki Mseleku

Mulungo

292-294

DOI:

10.4314/samus.v43i1.17

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Book review: Opera in Cape Town: The Critic’s Voice

Gerber

295-297

DOI:

10.4314/samus.v43i1.18

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Book Review: Sound Fragments: From Field Recording to African Electronic Stories

Struwig

298-302

DOI:

10.4314/samus.v43i1.19

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Book review: Playing the Changes at an African University and on the Road

Robinson

303-307

DOI:

10.4314/samus.v43i1.20

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Book Review: Activism through Music during the Apartheid Era and Beyond: When Voices Meet

Olwage

308-309

DOI:

10.4314/samus.v43i1.21

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Book Review: Lion’s Share: Remaking South African Copyright

Leal

310-312

DOI:

10.4314/samus.v43i1.22

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Album Review: Malcolm Dedman: Piano Music, Volume One

Schonken

313-314

DOI:

10.4314/samus.v43i1.23

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Production Review: The Head and the Load

Loveday

315-317

DOI:

10.4314/samus.v43i1.24

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Journal Identifiers

eISSN:
print ISSN: 2223-635X