Mzilikazi Khumalo (1932-2021), an iconic figure in choral music in South Africa, rose to prominence as one of Africa's leading composers of art music. This is a work of music history. Biographical essays on Khumalo's major works, including those for choir, orchestra, and opera are complemented by contextual studies of his compositions and arrangements as well as reflections on his roles as editor, conductor, and music director. Specifically in the context of South Africa's cultural and political transition from Apartheid to democracy, Khumalo's key role in establishing the Nation Building Massed Choir Festival, a multi-racial institution that forged an inclusive space for music, in the 1980s is discussed as evidence of his importance and relevance in South African culture. Khumalo's major works are studied in relation to contemporary art music, choral composition, and traditional song. These are UShaka KaSenzangakhona (1996), an African epic, and Princess Magogo KaDinuzulu (2002), one of the first indigenous African operas. Khumalo's artistic collaborators provide insight into their experiences working on these major projects, documenting the relationships the composer cultivated with his peers. This volume addresses a lacuna in the literature on South African art music which until recently tended to focus on works in the classical tradition and shows that Khumalo is a composer without peer in his synthesis of classical and choral, traditional and contemporary.

"Biographical essays on Mzikilikazi Khumalo's (1932-2021) songs, arrangements, and major works for orchestra and opera are contextualized and sit alongside reflections on his many roles, including that as guide for a cultural transition from Apartheid to democracy in South Africa. Of primary focus are uShaka kaSenzangakhona (1996), an African epic, and Princess Magogo kaDinuzulu (2002), one of the first indigenous African operas, to which Khumalo's artistic collaborators provide insight. This volume addresses a lacuna in literature on South African art music that has historically focused on works in the classical tradition and demonstrates that Khumalo is a peerless composer"--

This book seeks to create a systematic, eclectic, historical picture of the present and past women intellectuals, activists, artists, and cultural custodians. Using the concept of ‘ukufukama’ (incubate) we connect intergenerational knowledge transfer of our elders to the current struggles faced by the younger generation of women. We bring together different authors who engage the biographical and intellectual contributions of different African women and their imagination of the democratic South Africa. Writing about the various feminist intellectual traditions between the 19th and 21st centuries, this book systematically pulls together oral and creative texts to recover the memories of Nosuthu Jotelo, Sarah Baartman, Nontsizi Mgqwetho, Phyllis Ntantala, Brigalia Bam, Umntwana uMagogo, Miriam Makeba, Sibongile Khumalo, Lebo Mathosa, Thandiswa Mazwai, Celeste Ntuli, Nkosazana Dlamini Zuma, Neo Mathabe among the lives and works covered here. This range of voices shows that intellectual work is varied and has the ability to sit alongside each other. It importantly shows that scholarship emerges through community and conversation, which is to say feminist histories are created and recreated through conversations that care about women’s voices, stories, and being in the world. Ultimately, we think of the women featured in this book as forming a lineage, a tradition of black women’s’ survival wisdom, which facilitated change and enduring, radical transformation that demands theorisation and celebration.

Singers generating cultural identity from K-Pop to Beverly Sills Around the world and across time, singers and their songs stand at the crossroads of differing politics and perspectives. Levi S. Gibbs edits a collection built around the idea of listening as a political act that produces meaning. Contributors explore a wide range of issues by examining artists like Romani icon Esma Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa Teng. Topics include gendered performances and the negotiation of race and class identities; the class-related contradictions exposed by the divide between highbrow and pop culture; links between narratives of overcoming struggle and the distinction between privileged and marginalized identities; singers’ ability to adapt to shifting notions of history, borders, gender, and memory in order to connect with listeners; how the meanings we read into a singer’s life and art build on one another; and technology’s ability to challenge our ideas about what constitutes music. Cutting-edge and original, Social Voices reveals how singers and their songs equip us to process social change and divergent opinions. Contributors: Christina D. Abreu, Michael K. Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B. Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd Titon, and Elijah Wald

Compelling inside views of what characterises opera and music theatre in African and African diasporic contexts.

Bringing together perspectives on history, global activity and professional development, this Companion provides a unique overview of choral music.

Jacobus Kloppers, an eminent composer, organist, pedagogue, and scholar, significantly contributed to musicological and organ teaching in South Africa and Canada and, in the latter context, art music, and liturgical composition. A Passage of Nostalgia – The Life and Work of Jacobus Kloppers, as a symbolic gesture, constitute recognition of his work both in South Africa and Canada. This publication is unique in that, apart from relevant disciplinary perspectives, biographical and autobiographical narrative, and anecdote, all constitute a necessary means through which the authors illuminate Kloppers’ compositional process and its creative outcomes. In this regard, Kloppers generously dedicated his time to the project to make information on his life and work available, often in complex ways. This retrospective input supports the work offered as an authentic, self-reflective recounting of a life of dedicated service in music. The construct of nostalgia as an overarching theme to this volume on some level denotes Kloppers’ position of cultural and religious ‘insidedness’ and ‘outsidedness’. However, apart from representing a return to a lost and challenging past, the composer’s creative work affirms his individuality, sense of artistic self, and propensity for spiritual acceptance and tolerance. Moreover, nostalgia in his oeuvre takes on importance as a rhetorical artistic practice by which continuity is as central as discontinuity.