Jaargang 8, nommer 2 – Augustus 2011 - LitNet

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LitNet Akademies Jaargang 8(2) – Augustus 2011 Pyper, B. 2005. “To hell with home and shame”: Jazz, gender and sexuality in the “Drum” journalism of Todd Matshikize, 1951–1957. In Walton en Muller (reds.) 2005. Rapporteer. 2010. Jack se bek is te vuil vir Juanita. http://www.rapport.co.za/Suid- Afrika/Nuus/Jack-se-bek-is-te-vuil-vir-Juanita-20100918 (25 Mei 2011 geraadpleeg). Rose, T. 1994. Black noise: Rap music and black culture in contemporary America. Hanover: University Press of New England. Rust, R. 2010. Die plaas in zef: Jack Parow. Sarie, Augustus, ble. 42–6. Shinkle, E. 2004. Boredom, repetition, inertia: Contemporary photography and the aesthetics of the banal. Mosaic: A Journal for the Interdisciplinary Study of Literature, 37:165–84. Shusterman, R. 1991. The fine art of rap. New Literary History, 22:613–22. Smith, M. 2001. The symbolism of death in Arnold van Wyk’s Five Elegies: An application of William Kimmel’s Theory Concerning the Phrygian Inflection. Ongepubliseerde verhandeling, Universiteit van Natal. Steyn, M.E. 2001. Whiteness just isn’t what it used to be: White identity in a changing South Africa. Albany: State University of New York Press. Swarts, J. 2010. ’n Ander soort Afrikaner.http://afrikaans.news24.com/ (25 Mei 2010 geraadpleeg). Thompson, J. 1990. Ideology and modern culture: Critical social theory in the era of mass communication. Cambridge: Polity Press. Thom Wium, M. 2010. My country, my dry, forsaken country: On exile in Ovid’s, N.P. Van Wyk Louw’s and Arnold van Wyk’s Tristia. Musicus, 38(1):25–35. Titlestad, M. 2004. Making the changes: Jazz in South African literature and reportage. Pretoria: Unisa Press. Viljoen, M. 2006. “Wrapped up”: Ideological setting and figurative meaning in African- American gospel rap. Popular Music, 25(2):265–82. —. 2004. Two reflections on urban discourse: Holyhip as social symbolism. Muziki: Journal for Music Research in Africa, 1(1):20-40. Viljoen, M. en N.G.J. Viljoen. 2005. The politics of the ineffable: A deconstructive reading of Hubert du Plessis’s “De Bruid”. In Walton en Muller (reds.) 2005. Visagie, P.J. 1996. Power, meaning and culture: John Thompson’s Depth Hermeneutics and the Ideological Topography of Modernity. Suid-Afrikaanse Tydskrif vir Filosofie, 15(2):73–83. —. 1994. The name of the game in Ideology Theory. Ongepubliseerde manuskrip. Universiteit van die Vrystaat. ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
LitNet Akademies Jaargang 8(2) – Augustus 2011 Wakefield, N. 1998. Second-hand daylight: An aesthetics of disappointment. In Janus (red.) 1998. Walton, C. 2005. Being Rosa. In Walton en Muller (reds.) 2005. Walton, C. en S. Muller (reds). 2006. A composer in Africa: Essays on the life and work of Stefans Grové. Stellenbosch: SUN ePReSS. —. 2005. Gender and sexuality in South African music. Stellenbosch: SUN ePReSS. Warner, E. 1998. Searching for a pragmatic aesthetic: The rhetorical strategies of gangsta rappers. Myths, rituals, and drama of an outlaw music. Ongepubliseerde PhD-proefskrif, Wayne State University. Wasserman, H. en S. Jacobs (reds). 2003. Shifting selves: Post-apartheid essays on mass media, culture and identity. Kaapstad: Kwela Books. Eindnotas 1 Dit is betreklik onlangs dat Muller (2000a) die Suid-Afrikaanse musikologie aan die hand van die metafore van “siekte” en “dood” beskryf het – waarby hy veral op die plaaslike gebrek aan sensitiwiteit ten opsigte van die toe reeds internasionaal heersende kultureel-kritiese tendense gedui het. In die dekade wat verloop het sedert hierdie standpunt gepubliseer is, is die plaaslike musikologiese terrein egter toenemend deur ’n steeds dieper bewussyn van die sosiale aard van musiek verbreed. Muller (2001 en 2008), Olwage (2008) en Thom Wium (2010) is maar enkele voorbeelde van bydraes wat die verband tussen apartheid en musiek onder ’n “Nuwe” musikologiese vaandel ondersoek; Pyper (2005), Muller (2005), asook Viljoen en Viljoen (2005) is voorbeelde van ’n soortgelyke benadering ten opsigte van gender-gerigte studies. 2 Die voorwoord tot Cook en Everist (1999:v-xii) se Rethinking music bied ’n nuttige oorsig van die ontwikkeling wat tot die ontstaan van die sogenaamde “Nuwe” musikologie aanleiding gegee het – by name die rol wat Kerman se Contemplating music (1985) gespeel het. 3 In hierdie verband kan daar onder meer na die volgende verwys word: Walton en Muller (2005), Walton en Muller (2006), Titlestad (2004), Lucia (2005), Akrofi, Smit en Thorsén (2007) en Galane (2008). 4 In sy artikel “Musicology and meaning” stel ook Kramer (2003:6) die vraag of die sogenaamde “Nuwe” musikologie moontlik reeds “verouder” het. 5 Daar sou geargumenteer kon word dat sommige voorbeelde van Suid-Afrikaanse musikologie opportunisties met die idee van die “Nuwe” musikologie omgaan – juis omdat die interpretasies ter sprake weier om spekulatiewe werk met empiriese gegewens te staaf. Ek dink hier byvoorbeeld aan Walton (2005:61–70) se hoofstuk oor Rosa Nepgen in Gender and sexuality in South African music waarby die imponering van ’n politieke subteks (ofskoon humoristies) nie oortuig nie (gewoon omdat hy nie met belangrike gegewens oor sy onderwerp vertroud was nie). Muller (2000b:45 e.v.) interpreteer Arnold van Wyk se Missa in illo tempore (1979) as ’n ikonoklastiese stuk kritiek op die utopiese mites van hoogmodernistiese kultuur en die totalitêre sisteem ISSN 1995-5928 | Tel: 021 886 5169 | E-pos: akademies@litnet.co.za
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