- Page 1 and 2: South African Choral Music (Amakway
- Page 3 and 4: 11 Preface
- Page 5 and 6: IV 2.2.3 Employment and the Work Pl
- Page 7 and 8: VI 8 Preface FROM SCHOOLS TO COMMUN
- Page 9: VIII 12.2.5.2 Towards an African Op
- Page 13: Introduction Amakwaya and the Aspec
- Page 17 and 18: Introduction XVII mainly concerned
- Page 19: Introduction XIX who had been expos
- Page 25 and 26: Outline xxv group prioritised probl
- Page 27 and 28: Outline XXVII Music (6.2). The part
- Page 30: :xxx Preface fields, were a source
- Page 35 and 36: 6 The Mrican Native Choir (1892) an
- Page 40 and 41: 1.2 Communicating Identity and Diff
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- Page 49 and 50: 20 The Mrican Native Choir (1892) a
- Page 54: 1.2 Communicating Identity and Diff
- Page 61: 32 1.3 Summary The Mrican Native Ch
- Page 65 and 66: 36 Becoming Amakholwa: Mission Comm
- Page 67 and 68: 38 Becoming Amakholwa: Mission Comm
- Page 70 and 71: 2.1 Setting the Scene: Early Missio
- Page 72 and 73: 2.2 Becoming Amakholwa during the s
- Page 74: 2.2 Becoming Amakholwa 45 Western s
- Page 77 and 78: 48 Becoming Amakholwa: Mission Comm
- Page 79: 50 Becoming Amakholwa: Mission Comm
- Page 82 and 83: 2.2 Becoming Amakholwa trapped in t
- Page 84: 2.3 Images ofthe Other 55 Christian
- Page 87 and 88: 58 Becoming Amakholwa: Mission Comm
- Page 89: 60 Becoming Amakholwa: Mission Comm
- Page 92: 64 Shaping a New World: The Mrican
- Page 95 and 96: 3.1 Theorising Identity motho ka ba
- Page 98 and 99: 70 Shaping a New World: The Mrican
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74 Shaping a New World: The Mrican
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3.2 The Applications for the Exempt
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3.2 The Applications for the Exempt
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3.2 The Applications for the Exempt
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3.3 Between Two Worlds: Exclusivene
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90 Shaping a New World: The Mrican
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92 Shaping a New World: The Mrican
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96 Negotiating Tradition and the Mo
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98 Negotiating Tradition and the Mo
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100 Negotiating Tradition and the M
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4.1 The African Yearly Register: A
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4.1 The Mrican Yearly Register: A D
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110 Negotiating Tradition and the M
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112 Negotiating Tradition and the M
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114 Negotiating Tradition and the M
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116 Negotiating Tradition and the M
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118 4.4 Summary Negotiating Traditi
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124 Music at the Mission Station an
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126 Music at the Mission Station an
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128 Music at the Mission Station an
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5.3 To Sing Like a Westerner: the P
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5.3 To Sing Like a Westerner: the P
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5.3 To Sing Like a Westerner: the P
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5.3 To Sing Like a Westerner: the P
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5.3 To Sing Like a Westerner: the P
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5.4 Hymn Singing: Medium of Promoti
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5.4 Hymn Singing: Medium of Promoti
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146 Music at the Mission Station an
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150 Music at the Mission Station an
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154 Music Education at Adams Colleg
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6.1 The Establishment ofAdams Colle
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6.2 The Content ofMusic Education 1
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6.2 The Content ofMusic Education 6
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6.2 The Content ofMusic Education 1
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172 Music Education at Adams Colleg
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174 Music Education at Adams Colleg
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178 Leisure-time and the Role of Ch
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180 Leiswe-time and the Role of Cho
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182 Leisure-time and the Role of Ch
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184 Leisure-time and the Role of Ch
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186 Leisure-time and the Role of Ch
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7.2 Choral Music, Perfonnance, Disc
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7.2 Choral Music, Performance, Disc
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7.2 Choral Music, Performance, Disc
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7.3 Summary Witness" - which were d
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8.1 Mark Radebe and the Transvaal E
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210 From Schools to Communities: Th
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8.2 School Choir Contests and the R
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218 From Schools to Communities: Th
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222 From Schools to Communities: Th
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224 From Schools to Communities: Th
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226 From Schools to Communities: Th
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230 From Schools to Communities: Th
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8.3 Adult and Community Choirs The
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236 From Schools to Communities: Th
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9.1 Traditional Roots 9.1 Tradition
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242 Competition: Performance, Meani
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9.3 The Lived Experience: Exploring
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248 Competition: Performance, Meani
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250 Competition: Performance, Meani
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9.3 The Lived Experience: Exploring
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9.3 The Lived Experience: Exploring
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9.3 The Lived Experience: Exploring
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262 Competition: Perfonnance, Meani
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264 Competition: Perfonnance, Meani
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266 Competition: Perfonnance, Meani
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9.4 Summary 9.4 Summary We can now
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PART THREE Rep rtoire: Nag tiati n,
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10.2 Visual Representation experien
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10.3 Phenomenology ofthe Sectionali
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10.3 Phenomenology ofthe Sectionali
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282 Neo-traditional Songs Promoted
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11.1 Tracing the Historical Roots:
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11.1 Tracing the Historical Roots:
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11.2 Factors of Negotiation: Mrican
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11.2 Factors of Negotiation: Mrican
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298 Mrican Eclectic Compositions wi
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12.1 The Process of Composing 301 r
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12.1 The Process of Composing of th
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306 12.2 Periodisation of Mrican Ec
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308 African Eclectic Compositions a
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12.2 Periodisation ofAfrican Eclect
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12.2 Periodisation of African Eclec
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12.2 Periodisation ofAfrican Eclect
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326 Figure 12.14: RI: Ca/uza, 1968
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12.2 Periodisation ofAfrican Eclect
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12.2 Periodisation ofAfrican Eclect
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12.2 Periodisation ofAfrican Eclect
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346 12.3 Summary Mrican Eclectic Co
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348 Mrican Eclectic Compositions to
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352 Westem Repertoire the only yard
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13.1 Reconsidering Repertoire: Khab
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13.2 The Significance ofOratorio: M
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13.2 The Significance ofOratorio: M
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13.2 The Significance ofOratorio: M
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13.3 The Latest Development: Opera
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13.3 The Latest Development: Opera
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13.3 The Latest Development: Opera
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13.4 Summary 375 Works by Mendelsso
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380 Epilogue where to start? [But]
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382 Epilogue The unfortunate effect
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384 Epilogue that they are the best
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386 Epilogue we can also reach a st
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388 Epilogue of its important histo
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392 Bibliography Dargie, D. 1984. '
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396 Bibliography Schoeman, K. ed. 1
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6. Interviews and Personal Communic
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7. Interviews with Choristers (Ques