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Allen, Lara:
The Effect of Repressive State Policies on the Development
and Demise of Kwela Music in Africa, 1955-1965.
in: Wicke, Peter (ed.):
Popular Music Perspectives 3.
Berlin: ZyanKrise Druck & Verlag, 1995: 326-330.

Allen, Lara:
Drumbeats, Pennywhistles and All That Jazz:
The Relationship Between Urban South African
Musical Styles and Musical Meaning.
Papers Presented at the 11th Symposium on
Ethnomusicology, University of Natal 23-25 August 1993. 1-5.
Reprint
African Music (Grahamstown), Vol. 7, No. 3, 1996: 44-51.

Allen, Lara:
An Archive of Black South African Popular Music: Recently Released Reissues.
British Journal of Ethnomusicology (Abingdon), Vol. 5, 1996: 177-186.

Allen, Lara:
Kwela: The Structure and Sound of Pennywhistle Music.
in: Floyd, Malcolm (ed.):
Composing the Music of Africa: Composition, Interpretation, and Realization.
Aldershot & Brookfield, Vt.: Ashgate, 1999: 227-263.

Allen, Lara:
Commerce, Politics, Musical Hybridity:
Vocalising Urban Black South African Identity During the 1950s.
Ethnomusicology (Bloomington, Ind.), Vol. 47, No. 2, Spring/Summer 2003: 228‐249.

Allen, Lara:
Kwaito versus Crossed-over:
Music and Identity during South Africa’s Rainbow Years, 1994–99.

Social Dynamics (Cape Town), Vol. 30, Issue 2, 2004: 82-111.

Allen, Lara:
Music, Film and Gangsters in the Sophiatown Imaginary:
Featuring Dolly Rathebe.

Srutiny2 (Abingdon), Vol. 9, Issue 1, 2004: 19-38.

Allen, Lara:
Circuits of Recognition and Desire in the Evolution of Black
South African Popular Music: The Career of the Penny Whistle. 

South African Music Studies (Matieland), Vol. 25, 2005: 31-51.

Allen, Lara:
From Rights to Responsibilities: Identity Politics and Ethnographic
Methodology, Dialogues with South African Musicians.

Social Dynamics (Cape Town), Vol.  32, No. 2, 2006: 50-80.

Allingham, Rob:
From ‘Noma Kumnyama’ to ‘Pata Pata’: A History.
African Music (Grahamstown), Vol. 8, No. 3, 2009: 117-131.

Allingham, Rob & Gregory Mthembu-Salter:
South Africa Popular Music Nation of the Voice. /
Allingham, Rob & Gwen Ansell:
South Africa Jazz Hip Kings, Hip Queens.
in: Broughton, Simon; Mark Ellingham & Jon Lusk (eds.):
The Rough Guide to World Music. Volume 1: Africa and the Middle East.
London: The Rough Guides, 2006: 351-376 & 377-388.

Anonymous:
Kwela – S. Africa’s Jazz.
West African Review (Liverpool), Vol. 33, No. 411, March 1962: 24,27-29.

Ariefdien, Shaheen & Marlon Burgess:
Putting Two Heads Together:
A Cross-Generational Conversation about Hip-Hop in a Changing South Africa.

in: Soucier, P[aul] Khalil (ed.):
Native Tongues. An African Hip-Hop Reader.
Trenton, N.J.: Africa World Press, 2011: 219-252.

Ariefdien, Shaheen & Rico Chapman:
Hip Hop, Youth Activism, and the Dilemma of Colored Identity in South Africa.
in: Clark, Msia Kibona & Mickie Mwanzia Koster (eds.):
Hip Hop and Social Change in Africa.
Lanham, Md.: Lexington Books, 2014: 94-110.

Badsha, Farzanah:
Old Skool Rules / New Skool Breaks:
Negotiating Identities in the Cape Town Hip Hop Scene.

in: Wasserman, Hermann & Sean Jacobs (eds.):
Shifting Selves: Post-Apartheid Essays on Mass Media, Culture and Identity
Cape Town: Kwela Books, 2003: 120-145.

Baines, Gary:
“The little jazz Town”:
The Social History and Musical Styles of Black Grahamstown in the 1950s and 1960s.

Papers Presented at the Symposium on Ethnomusicology, Number 13, University of Zululand 1995 and
at the Symposium on Ethnomusicology, Number 14, Rhodes University 1996.
Grahamstown: International Library of African Music, 1997: 47-56.

Baines, Gary:
Racist Hate Speech in South Africa’s Fragile Democracy:
The Case of Ngema’s ‘AmaNdiya’.

in: Drewett, Michael & Martin Cloonan (eds.):
Popular Music Censorship in Africa.
Aldershot: Ashgate, 2004: 53-70.

Baines, Gary:
Catalyst or Detonator? Local Music Quotas and
the Current South African Music ‘Explosion’.
Social Dynamics (Cape Town), Vol. 29, Issue 1, 2003: 66-87.

Ballantine, Christopher:
From Marabi to Exile: A Brief History of Black Jazz in South Africa.
Papers presented at the 6th Symposium on Ethnomusicology,
Rhodes University, 1st-3rd October, 1987.
Grahamstown: International Library of African Music, 1988: 2-5.

Ballantine, Christopher:
A Brief History of South African Popular Music.
Popular Music (Cambridge), Vol. 8, No. 3, October 1989: 305-310.

Ballantine, Christopher:
“Africans in America, Harlem in Johannesburg”:
The Ideology of Afro-America in the Formation of
Black Jazz Vaudeville in South Africa before the Mid-1940s.
Papers presented at the 7th symposium on Ethnomusicology,
University of Venda, 3rd-5th September 1988.
Grahamstown: International Library of African Music, 1989: 5-10.

Ballantine, Christopher:
Concert and Dance: The Foundation of Black Jazz in
South Africa between the Twenties and the Early Forties.
Popular Music (Cambridge), Vol. 10, No. 2, May 1991: 121-145.
Reprint
in: Whyton, Tony (ed.): Jazz.
The Library of Essays on Popular Music Series.
Farnham, Surrey: Ashgate, 2011: 475-499.

Ballantine, Christopher:
Music and Emancipation: The Social Role of Black Jazz and
Vaudeville in South Africa between the 1920s and the Early 1940s.
Journal of Southern African Studies (Abingdon), Vol. 17, No.1, 1991: 129‐152.

Ballantine, Christopher:
The Identities of Race, Class, Gender in the Repression
of Early Black South African Jazz and Vaudeville” (ca. 1920-1944).
Music in Southern Africa. Papers Presented at the 11th Symposium on Ethnomusicology,
University of Natal 23-25 August 1993.
Grahamstown: International Library of African Music, 1993: 6-11.
Reprint
in: Straw, Will (ed.):
Popular Music – Style and Identity.
International Association for the Study of Popular Music, Seventh International Conference.
Montreal:  Centre for Research on Canadian Cultural Industries and Institutions, 1995: 9-12.

Ballantine, Christopher:
‘Gateways to Liberty’: Reflections on the Social Role of Black South African Jazz and Vaudeville Before the mid-1940s.
Popular Music Perspectives III.
The Sixth International Conference on Popular Music Studies, Berlin, July 15-20, 1991.
Berlin: Verein zur Förderung der populäre Musikkultur & Forschungszentrum Populäre Musik,
Humbold-Universität zu Berlin, 1995: 305-310.

Ballantine, Christopher:
Politics in Music: Towards an African Style in Black South African Jazz and Vaudeville in the Early 1940s.
Papers Presented at the Ninth Symposium on Ethnomusicology, University of Namibia, 23-26 August, 1990.
Grahamstown: International Library of African Music, 1995: 5-7.

Ballantine, Christopher:
Fact, Ideology and Paradox: African Elements in Early
Black South African Jazz and Vaudeville.
African Music (Grahamstown), Vol. 7, No. 3, 1996: 52-59.

Ballantine, Christopher:
Joseph Shabalala: Chronicles of an African Composer.
British Journal of Ethnomusicology (Abingdon), Vol. 5, 1996: 1-38.

Ballantine, Christopher:
Making Visible the Invisible:
Creative Processes and the Compositions of Joseph Shabalala.
Papers Presented at the Symposium on Ethnomusicology, Number 13,
University of Zululand 1995 and at the Symposium on Ethnomusicology,
Number 14, Rhodes University 1996.
Grahamstown: International Library of African Music, 1997: 56-59.

Ballantine, Christopher:
‘Brothers’: The Indigenization of American Close-Harmony-Group Song Style in South Africa during the 1940s and 1950s.
in: Mitsui, Tôru (ed.):
Popular Music: Intercultural Interpretations.
IASPM, Ninth International Conference on Popular Music, Kanazawa University, Japan.
Kanazawa: Kanazawa University, 1998.

Ballantine, Christopher:
Looking to the USA: The Politics of Male Close-Harmony
Song Style in South Africa during the 1940s and 1950s.
Popular Music (Cambridge), Vol. 18, No. 1, January 1999: 1-17.

Ballantine, Christopher:
Gender, Migrancy, and South African Popular Music in the Late 1940s and the 1950s.
Ethnomusicology (Bloomington, Ind.), Vol. 44, No. 3, Fall 2000: 376-407.

Ballantine, Christopher:
Joseph Shabalala: African composer.
in: Nutall, Sarah & Cheryl-Anne Michael (eds.):
Sense of Culture: South African Cultural Studies.
Oxford: Oxford University Press, 2000: 231-255.

Ballantine, Christopher:
Music, Masculinity and Migrancy under Early Apartheid:
Gender and Popular Song in South Africa, c. 1948-1960.
in: Hesmondhalgh, David & Keith Negus (eds.):
Popular Music Studies.
London: Arnold & New York, N.Y.: Oxford University Press, 2002: 16-32.

Ballantine, Christopher:
Re-thinking ‘White’ Identity?
Some Issues in Popular Music in Post-Apartheid South Africa.

in: Kärki, Kimi; Rebecca Leydon & Henri Terho (eds.):
Looking Back, Looking Ahead: Popular Music Studies 20 Years Later.
Proceedings of the Eleventh Biannual IASPM Conference, July 6-10, 2001, Turku, Finland.
Turku: IASPM-Norden, 2002: 559-564.
Reprint
in Langlois, Tony (ed.):
Non-Western Popular Music.
The Library of Essays on Popular Music series.
Farnham, Surrey: Ashgate, 2012: 125-152.

Ballantine, Christopher:
Music and Emancipation: The Social Role of Black Jazz and
Vaudeville in South Africa between the 1920s and the Early 1940s.

in: Atkins, E. Taylor (ed.): Jazz Planet.
Jackson, Miss.: University Press of Mississippi, 2003: 169-190.

Ballantine, Christopher:
Re-Thinking ‘Whiteness’? Identity, Change and ‘White’
Popular Music in Post-Apartheid South Africa.
Popular Music (Cambridge), Vol. 23, No. 2, 2004: 105-131.

Ballantine, Christopher:
Popular Music and the End of Apartheid: The Case of Kwaito.
in: Gyde, Alex & Geoff Stahl (eds.):
Practising Popular Music.
Proceedings of the 12th Biennial IASPM-International Conference Montreal 2003.
Wellington: IASPM, 2010: 34-40.

Ballantine, Christopher:
Squatter Camps and Democracy, Ten Years Later: Rap and Social Change in the New South Africa.
in: Gyde, Alex & Geoff Stahl (eds.):
Making Music, Making Meaning.
Proceedings of the 13th Biennial IASPM-International Conference, Rome, Italy, 25-30 July 2005.
Wellington: IASPM, 2010: 69-77.

Ballantine, Christopher:
Chris McGregor: Introduction and interview.
South African Music Studies (Matieland), Vol. 30, 2013: 29-46

Ballantine, Christopher:
On Being Undone by Music: Thoughts towards a South African Future Worth Having.
South African Music Studies (Matieland), Vol. 34/35, 2016: 501-520.

Ballantine, Christopher:
Peter Rezant: Doyen of South African Jazz-Band Leaders.
South African Music Studies (Matieland), Vol. 34/35, 2016: 229-261.

Ballantine, Christopher:
Sounds like a Better Future: Musicking for Social Change.
in: Ballantine, Christopher: Michael Chapman; Kira Erwin & Gerhard Maré (eds.):
Living Together, Living Apart? Social Cohesion in a Future South Africa.
Pietermaritzburg: University Of KwaZulu-Natal Press, 2017: 110-121.

Ballantine, Christopher:
Song, Memory Power, and the South African Archive.
The Musical Quarterly, Vol. 99, Issue 1, March 2016: 60-80.

Benseler, Arthur:
Beobachtungen zur Kwela-Musik 1960 bis 1963.
Jazzforschung / Jazz Research (Graz), Nr. 5, 1973: 119-126.

Battersby, Jane:
“Sometimes it feels like l’m not Black enough”:
Recast(e)ing Coloured through South African Hip Hop as a Postcolonial Text.
in: Wasserman, Hermann & Sean Jacobs (eds.):
Shifting Selves: Post-Apartheid Essays on Mass Media, Culture and Identity
Cape Town: Kwela Books, 2003: 109–119.

Becker, Heike & Nceba Dastile:
Global and African: Exploring Hip-hop Artists in Philippi Township, Cape Town.
Anthropology Southern Africa (Abingdon), Vol. 31, Issue 1-2, 2008: 20-29.

Becker, Heike:
A Hip-Hop Era in Cape Town: The Aesthetics, and Politics of Performing ‘Afrikaaps’.
Journal of African Cultural Studies (Abingdon), Vol. 29, Issue 2, 2017: 244-259.

Bennighof, James:
Fluidity in Paul Simon’s “Graceland”: On Text and Music in a Popular Song.
College Music Symposium (Missoula, Mont.), Vol. 33/34, 1993/1994: 212-236.

Bethlehem, Louise:
“Miriam’s Place”: South African Jazz, Conviviality and Exile.
Social Dynamics (Cape Town), Vol. 43, Issue 2, 2017: 243-258.

Blacking, John:
Trends in the Black Music of South Africa, 1959-69.
in: May, Elizabeth (ed.):
Music of Many Cultures: An Introduction.
Berkley, Calif.: University of California Press, 1980: 195-215.

Boloka, Gibson:
Cultural Studies and the Transformation of the Music Industry:
Some Reflections on Kwaito.
in: Wasserman, Hermann & Sean Jacobs (eds.):
Shifting Selves: Post-Apartheid Essays on Mass Media, Culture and Identity
Cape Town: Kwela Books, 2003: 97-108.

Bosch, Tanja [Estella]:
Kwaito on Community Radio:
The Case of Bush Radio in Cape Town, South Africa.
The World of Music (Berlin), Vol. 50, No. 2, 2008: 75-89.

Bosch, Tanja Estella:
Commercial Music Radio, Race and Identity in South Africa.
Media, Culture & Society (Thousand Oaks, Calif.), Vol. 36, No. 7, 2014: 901-915.

Brand, Dollar:
Africa, Music, and Show Business:
An Analytical Survey in Twelve Tones plus Finale.
in: Okpaku, Joseph (ed.):
New African literature and the arts 1.
New York, N.Y.: Crowell, 1970: 296-302.

Brown, Duncan:
“Where Shall I Wonder under the Thunder Who’s that
Black Boys Making that Black Noise Step a Little Closer to the Mic”:
Prophets of Da City and Urban (South African) Identity.
in: Draper, Jonathan A.: (ed.):
Orality, Literacy, and Colonialism in Southern Africa.
Pietermaritzburg: Cluster Publications &
Atlanta. Ga.: The Society Biblical Literature, 2003: 145-169.

Brühwiler, Benjamin:
Blackface in America and Africa: Popular arts and
Diaspora Consciousness in Cape Town and the Gold Coast.
in: Falola, Toyin & Tyler Fleming (eds.):
Music, Performance and African Identities.
New York, N.Y.: Routledge, 2012: 125-143.

Byerly, Ingrid Bianca:
The Music Indaba: Music as Mirror, Mediator and Prophet
in the South African Transition from Apartheid to Democracy.
Ethnomusicology (Bloomington, Ind.), Vol. 42, No. 1, 1998: 1-44.

Chapman, Chris:
Popular Music and the Markets of Apartheid.
Staffrider (Johannesburg), Vol. 7, No. 2, 1988: 79-83.

Chawane, Midas H.:
The Rastafari Movement in South Africa: Before and After Apartheid.
New Contree: A Journal of Historical and Human Sciences for Southern Africa (Potchefstroom). Vol. 65, 2012: 163-188.

Chawane, Midas H.:
The Rastafarian Movement in South Africa: A Religion or Way of Life?
Journal for the Study of Religion (Pretoria), Vol. 27, No. 2, 2014: 214-237.

Chrispo, Caleb Okumu:
Local, Traditional, and Global Aspects of Contemporary
African Music in South African Television.
in: Thorsén, Stig-Magnus (ed.):
Sound of Change. Social and Political Features of Music in Africa.
Stockholm: SIDA Studies No. 12, 2004: 152-163.

Clegg, Johnny:
The Music of Zulu Immigrant Workers in Johannesburg:
A Focus on Concertina and Guitar.
in: Tracey, Andrew (ed.):
Papers Presented at the 1st Symposium on Ethnomusicology, Rhodes University, 1980.
Grahamstown: International Library of African Music, 1981: 2-9.

Clegg, Johnny:
Towards an Understanding of African Dance:
The Zulu Isishameni Style.
in: Tracey, Andrew (ed.):
Papers Presented at the 2nd Symposium on
Ethnomusicology, Rhodes University, 1981.
Grahamstown: International Library of African Music, 1982: 8-14.

Clegg, Johnny & Michael Drewett:
Why Don’t You Sing about the Leaves and the Dreams?
Reflections on Music Censorship in Apartheid South Africa.
in: Drewett, Michael & Martin Cloonan (eds.):
Popular Music Censorship in Africa.
Aldershot: Ashgate, 2004: 127-136.

Cockrell, Dale:
Of Gospel Hymns, Minstrel Shows, and Jubilee Singers:
Toward Some Black South African Musics.
American Music (Champaign, Ill.), Vol. 5, No. 4, 1987: 417-432.

Collins, Tom:
Constructing Maskanda.
South African Music Studies (Matieland), Vol. 26/27, 2006/2007: 1-26.

Coplan, David [Bellin]:
The African Musician and the Development of the
Johannesburg Entertainment Industry, 1900-1960.
Journal of Southern African Studies (Oxford), Vol. 5, No. 2, April 1979: 135-164.

Coplan, David [Bellin]:
The Entertainment Media, African Performing Art
and Urban African Identity in South Africa.
Paper Presented at the 22nd Annual Meeting of the African Studies Association,
Los Angeles, California, October 31-November 3, 1979 (79-29). 17 p.

Coplan, David [Bellin]:
The African Performer and the Johannesburg Entertainment Industry:
The Struggle for African Culture on the Witswatersrand.
in: Bozzoli, Belinda (ed.):
Labour, Townships and Protest: Studies in the Social History of the Witswatersrand.
Johannesburg: Ravan Press, 1979: 183-215.

Coplan, David [Bellin]:
Marabi Culture: Continuity and Transformation in
African Music in Johannesburg, 1920-1940.
African Urban Studies (East Lansing, Mich.), N.S., No. 6, Winter 1979/80: 49-75.

Coplan, David [Bellin] & David Rycroft:
Marabi: The Emergence of African Working-Class Music in Johannesburg.
in: Card, Caroline, J. Cowan; S. C. Helton, C. Rahkonen & L.K. Sommers (eds.):
Discourse in Ethnomusicology Vol. 2: A Tribute to Alan P. Merriam.
Bloomington, Ind.: Ethnomusicology Publications Group, Indiana University, 1981: 43-65.

Coplan, David [Bellin]:
Stylistic Process and Development in Black South African Urban Music.
in: Card Caroline et al. (eds.):
Discourses in Ethnomusicology, Vol. II.
Bloomington, Ind.:  Ethnomusicology Publication Group, 1981: 43-65.

Coplan, David [Bellin]:
The Emergence of an African Working-Class Culture.
in: Marks, Shula & Richard Rathbone (eds.):
Industrialisation and Social Change in South Africa.
African Class Formation, Culture and Consciousness, 1870-1930.
White Plains, N.Y.: Longman, 1982: 358-375.

Coplan, David [Bellin]:
The Urbanisation of African Music: Some Theoretical Observations.
Popular Music (Cambridge), Vol. 2, 1982: 112-129.

Coplan, David [Bellin]:
Ideology and Tradition in South African Black Popular Theater.
Journal of American Folklore (Washington, D.C.), Vol. 99, No. 392, April-June 1986: 151-176.

Coplan, David B[ellin]:
Popular Music in South Africa.
in: Stone, Ruth M. (ed.): Africa.
The Garland Encyclopedia of World Music, Vol. 1.
New York, N.Y. & London: Garland Publishing Inc., 1998: 759-780.
Reprint
New York, N.Y. & London: Routledge, 2013: 759-780.

Coplan, David B[ellin]:
Sounds of the “Third Way”. Identity and the African Renaissance
in Contemporary South African Popular Traditional Music.
Black Music Research Journal (Chicago, Ill.), Vol.  21, No. 1, Spring, 2001: 107-124.
Version en español
Sonidos del “Tercer Camino”: La identidad y el renacimiento africano
en la música popular tradicional contemporánea de Sudáfrica.

Música Oral del Sur (Granada), Número 5, 2002: 167-183.

Coplan, David B[ellin]:
Sounds of the “Third Way”.
Zulu Maskanda, South African Popular Traditional Music.
in: Palmberg, Mai & Annemette Kirkegaard (eds.):
Playing with Identities in Contemporary Music in Africa.
Uppsala: Nordiska Afrikainstitutet, 2002: 104-116.

Coplan, David B[ellin]:
God Rock Africa: Thoughts on Politics in Popular Black Performance in South Africa.
African Studies (Johannesburg), Vol. 64, Issue 1, 2005: 9-27.

Coplan, David B[ellin]:
Sophiatown et le jazz sud-africain. Réappropriation d’une identité culturelle. /
Sophiatown and South African Jazz: Re-appropriating a Cultural Identity.
Africulture (Paris), nᵒ 66, 2006: 120-135.

Coplan, David B[ellin]:
Thula Mabota: South African Jazz and Popular Music since 1994.
South African Music Studies (Matieland), Vol. 33, 2013: 49-60.

Coplan, David [Bellin] & Bennetta Jules-Rosette:
Nkosi Sikelel’ iAfrika and the Liberation of the Spirit of South Africa.
African Studies (Abingdon), Vol. 64, Issue 2, 2005: 285-308.

Couzens, Tim:
‘Moralizing Leisure Time’:
The Trans-Atlantic Connection and Black Johannesburg, 1918-1936.
in: Marks, Shula & Richard Rathbone (eds.):
Industrialisation and Social Change in South Africa:
African Class Formation, Culture and Consciousness 1870-1930.
London: Longman, 1982: 314-337.

Davidson, Kevin:
Stylistic Traits in South African Jazz – Barney Rachabane: A Case Study.
South African Music Studies (Matieland), Vol. 32, No. 1, 2012: 21-36.

Davidson, Laura:
Dollar Brand: The Genius of Avant-Garde Jazz.
in: Okpaku, Joseph (ed.):
New African Litterature and the Arts, Vol. 1.
New York, N.Y.: Crowell, 1970: 306-311.

Davies, Nollene:
The Guitar in Zulu Maskanda Tradition.
The World of Music (Berlin), Vol. 36, No. 2, 1994: 118-137.

Deborah, James:
Music of Origin: Class, Social Category and the Performers
and Audience of Kiba, a South African Migrant Genre.
Africa. Journal of the International African Institute (London), Vol. 67, No. 3, 1997: 454-475.

Desai, Desmond:
 ‘Cape Malay’ Music.
Papers Presented at the 5th Symposium on Ethnomusicology, 30 August to 1 September 1984.
Grahamstown: International Library of African Music, 1985: 39-44.

Dorsch, Hauke & Tom Simmert:
Südafrikas Musik zwischen Popularitat und Politisierung.
in: Leggewie, Claus & Erik Meyer (Herg.):
Globale Pop. Das Buch zur Weltmusik.
Stuttgart: J. B. Metzler Verlag, 2017: 323-331.

Dowling, Tessa & Kathryn Stinson:
Pop Singer as Healer: The Use of Xhosa Lyrics as Cultural Self-Realization.
Journal of African Cultural Studies (Abingdon), Vol. 23, Issue 2, 2011: 177-188.

Drewitt, Michael:
Satirical Opposition in Popular Music within Apartheid and Post-Apartheid South Africa.
Society in Transition (Johannesburg), Vol. 33, No. 1, 2002: 80-95.

Drewett, Michael:
Battling over Borders: Narratives of Resistance to
the South African
Border War Voiced through Popular Music.
Social Dynamics (Cape Town), Vol. 29, Issue 1, 2003: 78-98.

Drewett, Michael:
Music in the Struggle to End Apartheid: South Africa.
in: Cloonan, Martin and Reebee Garofalo ( eds.): Policing Pop.
Philadelphia, Pa.: Temple University Press, 2003: 153-165.

Drewett, Michael:
Aesopian Strategies of Textual Resistance in the Struggle to
Overcome the Censorship of Popular Music in Apartheid South Africa.
in: Müller, Beate (ed.):
Censorship & Cultural Regulation in the Modern Age.
Amsterdam: Editions Rodopi B.V., 2004: 189-208.

Drewett, Michael:
‘Stop this filth’: The Censorship of Roger Lucey’s Music in Apartheid South Africa.
South African Music Studies (Matieland), Vol. 25, 2005: 53-70.

Drewett, Michael:
The Cultural Boycott against Apartheid South Africa:
A Case of Defensible Censorship?
in: Drewett, Michael & Martin Cloonan (eds.):
Popular Music Censorship in Africa.
Aldershot: Ashgate, 2006: 23-38.

Drewett, Michael:
Remembering Subversion: Resisting Censorship in Apartheid South Africa.
in: Korpe, Marie (ed.):
Shoot the Singer. Music Censorship Today.
London: Zed Books & Copenhagen: Freemuse, 2004: 88-93.

Drewett, Michael:
Shifty Records in Apartheid South Africa:
Innovations in Independent Record Company Resistance.
South African Music Studies (Matieland), Vol. 34-35, No. 1, 2015: 29-62.

Drury, J. D.:
Modem Popular Music and the South African Challenge.
South African Journal of Musicology (Matieland), Vol. 5, No.1, 1985: 7-29.

Englert, Birgit:
Africa Raps Back. Reflections on HipHop from Tanzania and South Africa.
in: Schröder, Anne (ed.): Crossing Borders.
Interdisciplinary Approaches to Africa.
Berlin: Lit Verlag, 2004: 77-97.

Erasmus, Paul:
Roger, Me and the Scorpion:
Working for the South African Security Services during Apartheid.
in: Korpe, Marie (ed.):
Shoot the Singer! Music Censorship Today.
London: Zed Books & Copenhagen: Freemuse, 2004: 73-81.

Erb, Cynthia:
King Kong in Johannesburg:
Popular Theatre and Public Protest in 1950s South Africa.
in: Sponsler, Claire & Xiaomei Chen (eds.):
East of West:: Cross-Cultural Performance and the Staging of Difference.
New York, N.Y.: Palgrave, 2000: 143-165.

Erlmann, Veit:
Black Political Song in South Africa – Some Research Perspectives.
in: Horn, David (ed.): Popular Music Perspectives 2.
Papers from the Second International Conference on Popular Music Studies,
Reggio Emilia, September 19-24, 1983.
Göteborg:  IASPM, 1985: 187-209.

Erlmann, Veit:
A Feeling of Prejudice.
Orpheus McAdoo and the Virginia Jubilee Singers in South Africa, 1890-1898.
Journal of Southern African Studies (Oxford), Vol. 14, No. 3, 1988: 331-350.

Erlmann, Veit:
A Conversation with Joseph Shabalala of Ladysmith Black Mambazo.
Aspects of African Performers’ Life Stories.
The World of Music (Berlin), Vol. 31, No. 1, 1989: 31-58.

Erlmann, Veit:
‘Horses in the Race Course’:
The Domestication of Ingoma Dancing in South Africa, 1929-1939.
Popular Music (Cambridge), Vol. 8, No. 3, October 1989: 259-273.

Erlmann, Veit:
Migration and Performance.
Zulu Migrant Workers’ isicathamiya Performance in South Africa, 1890-1950.
Ethnomusicology (Ann Arbor, Mich.), Vol. 34, No. 2, Spring-Summer 1990: 199-220.

Erlmann, Veit:
Isicathamiya – Die Chormusik der Zulu-Wanderarbeiter in Südafrika, 1890-1950.
in: Erlmann, Veit (ed.): Populäre Musik in Afrika.
Veröffentlichungen des Museum für Völkerkunde. Neue Folge 53.
Abteilung Musikethnologie VIII. Berlin: Museum für Völkerkunde, 1991: 273-286.

Erlmann, Veit:
‘The Past is Far and the Future is Far’:
Power and Performance among Zulu Migrant Workers.
American Ethnologist (Hoboken, N.J.), Vol. 19, No. 4, November 1992: 688-709.

Erlmann, Veit:
‘Africa Civilized, Africa Uncivilized’:
Local Culture, World System and South African Music.

Journal of Southern African Studies (Abingdon) Vol. 20, No. 2, June 1994: 165-179.
Reprint
in: Barber, Karin (ed.): Readings in African Popular Culture.
London: The International Africa Institute in Association with
James Currey, Oxford and Indiana University Press, Bloomington, Ind., 1997: 170-177.

Fleming, Tyler:
Stars of Song and Cinema:
The Impact of Film on 1950s Johannesburg’s Black Music Scene.
in: Falola, Toyin & Tyler Fleming (eds.):
Music, Performance and African Identities.
New York, N.Y.: Routledge, 2012: 191-212.

Fleming, Tyler:
A Marriage of Inconvenience: Miriam Makeba’s Relationship
with Stokely Carmichael and her Music Career in the United States.
Safundi: The Journal of South African and American Studies (Abingdon), Vol. 17, No. 3, 2016: 312-338.

Fricke, David:
Paul Simon’s Amazing Graceland Tour.
Rolling Stone (New York, N.Y.), 2 July 1987: 43-48.

Gassert, Richard:
Bop ‘Til You Drop: An Oral Study of Popular Music Cultures
in Cape Town from the late 1940s to the Early 1960s.
Honors Essay. University of Cape Town, 1988.

Gaulier, Armelle:
Musique et processus de créolisation.
Les chants moppies des populations coloured du Cap (Afrique du Sud).
Volume! La revue des musique populaires (Paris), nᵒ  7:1, 2010: 75-104.

Graham, Ronnie:
Chapter 32 South Africa.
Stern’s Guide to Contemporary African Music.
London: Zwan / Off the Record Press, 1988: 256-281.

Grundlingh, Albert M.:
“Rocking the Boat”?: The “Voëlvry” Music Movement in South Africa :
Anatomy of Afrikaans Anti-apartheid Social Protest in the Eighties.
Cape Town: University of the Western Cape, Department of History, 2004. 27 p.
Reprint
The International Journal of African Historical Studies (Boston, Mass.), Vol. 37, No. 3, 2004: 483-514.

Gunner, Liz:
City Textualities: Isicathamiya, Reciprocities and Voices from the Streets.
Social Dynamics (Cape Town), Vol. 34, Issue 2, 2008: 156-173.

Gwangwa, Jonas & Fulco van Aurich:
The Melody of Freedom: A Reflection on Music.
in: Campschreur, Willem & Joost Divendal (eds.):
Culture in Another South Africa.
London: Zed Books, 1989: 139-159 & New York, N.Y.: Olive Branch Press, 1989: 146-159.

Hamm, Charles:
Rock ‘n’ Roll in a Very Strange Society.
Popular Music (Cambridge), Vol.  5, 1985: 159-174.
Reprint
Hamm, Charles:
Putting Popular Music in its Place.
Cambridge: Cambridge University Press, 1995: 150-166.

Hamm, Charles:
Graceland Revisited.
Popular Music (Cambridge), Vol. 8, No. 3, October 1989: 299-304.
Reprint
Hamm, Charles:
Putting Popular Music in its Place.
Cambridge: Cambridge University Press, 1995: 336-343.

Hamm, Charles:
‘The Constant Companion of Man’:
Separate Development, Radio Bantu and Music.
Popular Music (Cambridge), Vol. 10, No. 2, May 1991: 147-173.
Reprint
Hamm, Charles:
Putting Popular Music in its Place.
Cambridge: Cambridge University Press, 1995: 210-248.

Hamm, Charles:
Chapter 7 Home Cooking and American Soul in Black South African Popular Music.
Chapter 8 Rock ‘n’ Roll in a Very Strange Society.
Chapter 9 African-American Music, South Africa, and Apartheid.
Chapter 10 “The Constant Companion of Man”: Separate Development, Radio Bantu, and Music.
Chapter 11 Privileging the Moment of Reception: Music and Radio in South Africa.
Chapter 15 Graceland Revisited.
Putting Popular Music in its Place.
Cambridge: Cambridge University Press, 1995: 139-149 (Ch. 7), 167-209 (Ch. 9) & 249-269 (Ch. 11).

Hammett, Daniel:
Local Beats to Global Rhythms: Coloured Student Identity and
Negotiations of Global Cultural Imports in Cape Town, South Africa.
Social & Cultural Geography (Abingdon), Vol. 10, Issue 4, 2009: 403-419.

Hammett, Daniel:
Reworking and Resisting Globalising Influences: Cape Town Hip-Hop.
GeoJournal  (Berlin), Vol. 77, No. 3, 2012: 417-428.

Hannerz, Ulf:
Sophiatown: The View From Afar.
Journal of Southern African Studies (Oxford), Vol. 20, No. 2, 1994: 181-194.

Hansen, Thomas Blom:
Sounds of Freedom: Music, Taxis, and Racial Imagination in Urban South Africa.
Public Culture (Durham, N.C .), Vol. 18, Issue 1, 2006: 185-208.

Hashachar, Yair:
Playing the Backbeat in Conakry:
Miriam Makeba and the Cultural Politics of Sékou Touré’s Guinea, 1968–1986.
Social Dynamics (Cape Town), Vol. 43, No. 2, May 2017: 259-273.

Haupt, Adam:
Stifled Noise in the South African Music Box:
Prophets of da City and the Struggle for Public Space.

South African Theatre Journal (Stellenbosch), Vol. 10, No. 2, 1996: 51-61.

Haupt, Adam:
Black Thing: Hip-hop Nationalism, “Race” and Gender
in Prophets of da City and Brasse vannie Kaap.
in: Erasmus, Zimitri (ed.):
Coloured by History, Shaped by Place.
New Perspectives on Coloured Identities in Cape Town.
Cape Town: Kwela Books, 2001: 173-191.

Haupt, Adam:
Hip-Hop in the Age of Empire: Cape Flats Style.
Cape Town: Isandla Institute. Dark Roast Occasional Papers Series No. 9, 2003. 13 p.

Haupt, Adam:
Chapter 6 Hip-Hop, Counterpublics and Noise in Post-Apartheid South Africa.
Stealing Empire. P2P, Intellectual Property and Hip-Hop Subversion.
Cape Town: HSRC Press, 2008: 142-182 & 183-215.

Herman, Trevor:
South Africa.
in: Graham, Ronnie:
The World of African Music.
Stern’s Guide to Contemporary African Music. Volume 2.
Chicago, Ill.: Pluto Press: 1992: 185-193.

Holz, Peter:
Nuwe klanke uit Afrika.
Bantu (Pretoria), Vol. 15, No. 8, Augustus 1969: 30-32.

Huskisson, Yvonne:
The Story of Bantu Music.
Bantu (Pretoria), Vol. 15, No. 7, July 1968: 16-21.

Huskisson, Yvonne:
Record Industry in South Africa.
Progressus (Pretoria), Vol. 25, No. 11, November 1976: 1-17.

Huskisson, Yvonne:
Section Bantu Composers of South Africa, The
in: Malan, Jacques P. (ed.):
South African Music Encyclopedia, Vol. 1 A-D.
Cape Town: Oxford University Press, 1979: 85-110.

Impey, Angela:
Resurrecting the Flesh? Reflections on Women in Kwaito.
Agenda (Abingdon), Vol. 16, Issue 49, 2000/2001: 44-50.

Inglese, Francesca:
Choreographing Cape Town through Goema Music and Dance.
African Music (Grahamstown), Vol. 9, No. 4, 2014: 123-145.

Jackson, Melveen:
The Advent of the ‘Indian’ Orchestra and a Local Indian Record Company:
Music into the Indian South African Economy.
Papers Presented at the 7th Symposium on Ethnomusicology, 3-5 September 1988.
Grahamstown: International Library of African Music, 1989: 22-27.

Jackson, Melveen:
Popular Indian South African Music: Division in Diversity.
Popular Music (Cambridge), Vol. 10, No. 2, May 1991: 175-188.

James, Deborah:
Musical Form and Social History:
Research Perspectives on Black South African Music.
Radical History Review (Durham, N.C.), Vol. 1990, No. 46-47, 1990: 309-319.
Reprint
in: Brown; Joshua; Patrick Manning; Karin Shapiro; Jon Wiener;
Belinda Bozzoli & Peter Delius (eds.):
History from South Africa: Alternative Visions and Practices.
Philadelphia, Pa.: Temple University Press: 1991: 309-318.

Jansen van Rensburg, Claudia [Elizabeth]:
Documenting the Structures of Musical Silencing and Audibility:
The South African Broadcasting Corporation’s Central Record Acceptance Committee from 1986 to 1996.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 13, Issue 2, 2016: 51-66.

Jonas, Maggie:
Not so Simple, Simon. [Graceland controvercy].
New African (London), No. 235, April 1987: 39-40.

Jules-Rosette, Bennetta & David B[ellin] Coplan:
“Nkosi Sikelel’ iAfrika”. From Independent Spirit to Political Mobilization.
Cahiers d’Études africaines (Paris), nᵒ 173-174, 2004: 343-367.

Jury, Brendan:
Boys to Men: Afrikaans Alternative Popular Music 1986–1990.
African Languages and Cultures (Abingdon), Vol. 9, Issue 2, 1996: 99-109.

Järvenpää, Tuomas:
From Gugulethu to the World: Rastafarian Cosmopolitanism in
the South African Reggae Music of Teba Shumba and the Champions.
Popular Music and Society (Abingdon), 2017, Vol. 40, Issue 4: 453-473.

Kerkhof, Ian:
Music and Censorship in South Africa.
Rixka. Cultural Journal of the African National Congress (Lusaka), No. 2, 1986: 15-19.

Kerkhof, Ian:
Music in the Revolution.
Committee on South African War Resistance – Netherlands COSAWR-NL (Amsterdam), 1985. 27 p. mimeo
Reprint
Keskidee (Rochford, Essex), No. 2, 1990: 10-21.

Khan, Katy:
Cultural Authenticity or Cultural Contamination:
American Musical Influences on South African Hip-Hop Culture.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 4, Issue 1, 2007 3-11.

Khan, Katy:
Re-locating South African Hip Hop into Global Intercultural Communication.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 7, Issue 1, 2010: 148-160.

Kitchiner, Lanisa:
From Compton to Cape Town: Black(faceless)ness and the
Appropriation of Gangsta Rap in Die Antwoord’s “Fok Julle Naaiers”.
The Journal of Pan African Studies (Sun Village, Calif.), Vol. 6, No. 3, 2013: 65-81.

Kubik, Gerhard:
Chapter 11 The 12-Bar Blues Form in South African Kwela and Its Reinterpretation.
Africa and the Blues.
Jackson, Miss.: University Press of Mississippi, 1999: 161-185.

Lekgoathi, Sekibakiba Peter:
Bantustan Identity: Censorship and Subversion on
Northern Sotho Radio under Apartheid, 1960s-80s.
in: Ligaga, Dina; Dumisani Moyo & Liz Gunner (eds.):
Radio in Africa. Publics, Cultures, Communities.
Johannesburg: Wits University Press, 2011: 117-134.

Livermon, Xavier:
Representations of Sophiatown in Kwaito Music:
Mafikizolo and Musical Memory.
in: Falola, Toyin & Tyler Fleming (eds.):
Music, Performance and African Identities.
New York, N.Y.: Routledge, 2012: 169-190.

Livermon, Xavier:
“Si-ghetto Fabulous” (“We Are Ghetto Fabulous”):
Kwaito Musical Performance and Consumption in Post-Apartheid South Africa.
Black Music Research Journal (Chicago, Ill.), Vol. 34, No. 2, Fall, 2014: 285-303.

Lloyd, Theodosia:
Sunday Morning at Randfontain.
New Statesman and Nation (London), New Series, Vol. 18, 6th August 1938: 218-219.

Longmore, L[aura]:
Music and Song among the Bantu People in Urban Areas in the Witwatersrand.
The African Music Society Newsletter (Roodepoort), Vol. 1, No. 6, September 1953: 15-27.

Lucey; Roger:
Stopping the Music: Censorship in Apartheid South Africa.
in: Korpe, Marie (ed.):
Shoot the Singer. Music Censorship Today.
London: Zed Books & Copenhagen: Freemuse, 2004: 67-72.

Lucia, Christine:
Abdullah Ibrahim and the Uses of Memory.
British Journal of Ethnomusicology (Abingdon), Vol. 11, Issue 2, 2002: 124-143.

Madalane, Ignatia:
From Paul to Penny:
The Emergence and Development of Tsonga Disco 1985-1990s.
African Music (Grahamstown), Vol. 10, No. 1, 2015: 150-179.

Magubane, Zine:
Globalization and Gangster Rap: Hip Hop in the Post-Apartheid City.
in: Basu, Dupannita & Sidney Lemelle (eds.):
The Vinyl Ain’t Final: Hip Hop and the Globalization of Black Popular Culture.
London: Pluto Press, 2006: 208-229.

Marco, Derilene:
Rhyming with “Knowledge of Self”:
The South African Hip-Hop Scene’s Discourses on Race and Knowledge.
Muziki (Pretoria), Journal of Music Research in Africa, Vol. 8, Issue 2, 2011: 96-106.

Marre, Jeremy & Hannah Charlton:
Chapter Rhythm of Resistance. The Black Music of South Africa.
Beats of the Heart. Popular Music of the World.
London: Pluto Press, 1985: 34-50.
Parallel releases: 30 cm LP (Virgin Records V2113, P1978) &
VHS video / DVD (Shanachie 1204 P1988/P2000).

Martin, Denis[-Constant]:
Le triolet multicolore.
Dans la musique sud-africaine, une blanche n‘égale pas nécessairement deux noires …
Politique africaine (Paris), n° 25, mars 1987: 74-82.

Martin, Denis-Constant:
En noir et blanc ou en couleurs, que voir dans les clips sud-africains ?
Politique africaine (Paris), n° 48, décembre 1992: 67-88.

Martin, Denis-Constant:
Music Beyond Apartheid ?
in: Garofalo, Reebee (ed.) :
Rockin’ the Boat. Mass Music and Mass Movements.
London: South End Press, 1992: 195-207.

Martin, Denis-Constant:
Les ménestrels du Cap, le combat de carnaval et d’apartheid en Afrique du Sud.
in: Goerg, Odile (dir.):
Fêtes urbaines en Afrique, espace, identités et pouvoirs.
Paris: Karthala, 1999: 263-279.

Martin, Denis-Constant:
Le métissage en musique, un mouvement perpétuel,
création et identité, Amérique du Nord et Afrique du Sud.
Cahiers de musiques traditionnelles (Genève), vol. 13, 2000: 3-22.

Martin, Denis-Constant:
Anwar Gambeno. Transmettre une tradition omnivore (Le Cap, Afrique du Sud).
Cahiers de musiques traditionelles (Genève), vol. 15, 2002: 133-154.

Martin, Denis-Constant:
Le Cap ou les partages inégaux de la créolité sud-africaine.
Cahiers d’études africaines (Paris), nᵒ 168, 2002: 687-710.

Martin, Denis-Constant:
Musique dans la rue et contrôle de l’espace urbain : le Cap (Afrique du Sud).
Cahiers internationaux de sociologie (Paris), n° 119, 2005/2: 247-265.

Martin, Denis-Constant:
Our Kind of Jazz, musique et identité en Afrique du Sud.
Critique internationale (Paris), 2008/1 (n° 38): 91-110.

Martin, Denis-Constant:
Traces d’avenir. Mémoires musicales et réconciliation en Afrique du Sud.
Cahiers d’ethnomusicologie (Genève), vol. 22, 2009: 141-168.

Martin, Denis-Constant:
Survivre n’est pas toujours drôle… Les moppies, chansons comiques du Cap (Afrique du Sud).
Cahiers d’ethnomusicologie (Genève), vol. 26, 2013: 129 153.

Martin, Denis-Constant:
Les beautés de l’ambivalence en dispute, les nederlandsliedjies du Cap (Afrique du Sud).
Cahiers d’ethnomusicologie (Genève), vol. 28, 2015: 127-144.

Masemola, Kgomotso Michael:
Between Tinseltown and Sophiatown: The Double Temporality of Popular Culture
in the Autobiographical Cultural Memory of Bloke Modisane and Miriam Makeba.
Journal of Literary Studies (Abingdon), Vol. 27, Issue 1, 2011: 1-27.

Matshikiza, Todd:
Jazz Comes to Joburg!
in: Mutloatse Mothobi (ed.):
Reconstruction: 90 Years of Black Historical Literature.
Johannesburg: Ravan Press, 1981: 151-163.

McNeill, Fraser [G.]:
“We Sing about what we cannot talk about”:
Music as Anthropological Evidence in Venda, South Africa.

in: Chau, Liana; Casey High & Timm Lau (eds.):
How Do We Know? Evidence, Ethnography and the Making of Anthropological Knowledge.
Newcastle: Cambridge Scholars Publishing, 2008: 36-58.

McNeill, Fraser G. & Deborah James:
Singing Songs of AIDS in Venda, South Africa:
Performance, Pollution and Ethnomusicology in a Neo-Liberal Setting.
South African Music Studies (Matieland), Vol. 28, Issue 1, 2009: 1-25.

McNeill, Fraser G.:
Making Music, Making Money:
Informal Musical Production and Performance in Venda, South Africa.
Africa. Journal of the International African Institute (London), Vol. 82, No. 1, 2012: 93-111.

McNeill, Fraser G.:
Rural Reggae: The Politics of Performance in the Former ‘Homeland’ of Venda.
South African Historical Journal (Abingdon), Vol. 64, Issue 1, 2012: 81-95.

Meintjes, Louise:
Paul Simon’s Graceland, South Africa, and the Mediation of Musical Meaning.
Ethnomusicology (Bloomington, Ind.), Vol. 34, No. 1 (1990): 37‐73.

Meintjes, Louise:
Reaching Overseas: South African Engineers, Technology and Tradition.
in: Green, Paul D. & Thomas Porcello (eds.):
Wired for Sound: Engineering and Technologies in Sonic Culture.
Middletown, Conn.: Wesleyan University Press, 2005: 23-45.

Mhlambi, Thokozani:
Kwaitofabulous’: The Study of a South African Urban Genre.
Journal of the Musical Arts in Africa (Grahamstown & Abingdon), Vol. 1, 2004: 116-127.

Miller, Colin:
 ‘Julle kan ma New York toe gaan, ek bly in die Manenberg’:
An oral history of jazz in Cape Town from the mid-1950s to the mid-1970s.
in: Field, Sean; Renate Meyer & Felicity Swanson (eds.):
Imagining the City, Memories and Cultures in Cape Town.
Cape Town: Human Sciences Research Council Press, 2007: 133-149.

Moeketsi, Kippie ‘Morolong’:
Interview Roll ‘Em Morolong.
in: Mutloatse, Mothobi (ed.):
Umhlaba Wethu: A Historical Indictment.
Johannesburg: Skotaville, 1987: 99-108.

Moeketsi, Kippie:
Kippie’s Memories and the Early Days of Jazz: Kippie Moeketsi Speaks.
Staffrider (Johannesburg), Vol. 7, No. 3 & 4, 1988: 362-371.

Morris, Patricia:
The Rise and Fall of Drum. [Interview with Jim Bailey].
New African (London), No. 205, October 1984: 52-53.

Mphande, Lupenga & Ikechukwu Okafor Newsum:
Popular Music, Appropriation, and the Circular Culture of
Labor Migration in Southern Africa: The Case of South Africa and Malawi.
in: Adjaye, Joseph K. & Adrienne R. Andrews (eds.):
Language, Rhythm, and Sound: Black Popular Cultures into the Twenty-first Century.
Pittsburgh, Penn.: University of Pittsburgh Press, 1997: 241-258.

Mthembu-Salter, Gregory:
South Africa Gospel I’ve Got the Power.
in: Broughton, Simon; Mark Ellingham & Jon Lusk (eds.):
The Rough Guide to World Music. Volume 1: Africa and the Middle East.
London: The Rough Guides, 2006: 389-392.

Muller, Carol [Ann]:
Chakide – The Teller of Secrets:
Space, Song and Story in Zulu Maskanda Performance.
Current Writing (Abingdon), Vol. 7, Issue 2, 1995: 117-131.
Reprint
in: Brown, Duncan (ed.):
Oral Performance and Literature in Southern Africa.
Athens, Ohio: Ohio University Press & Oxford: James Currey, 1999: 220-234.
Reprint
Oxford: James Currey, 2012: 220-234.

Muller, Carol [Ann]:
Sathima Bea Benjamin, Exile and the ‘Southern Touch’ in Jazz Creation and Performance.
African Languages and Cultures (Abingdon), Vol. 9, Issue 2, 1996: 127-143.

Muller, Carol [Ann]:
Bottes en caouchouc, migrants et Fred Astaire:
dance ouvrière et style musicale en Afrique du Sud.
in: Agier, Michel & Alain Ricard (dir.):
Autrepart. Les Arts de la rue dans les sociétés du sud.
Cahiers des sciences humaines. Nouvelle série,  numéro 1.
La Tour d’Aigues: Éditions de l’Aube / ORSTOM, 1997: 71-90.

Muller, Carol [Ann]:
White Pop and an Imagined English-speaking Community in South Africa 1950-1990.
Papers Presented at the Symposium on Ethnomusicology, Number 13, University of Zululand 1995 and
at the Symposium on Ethnomusicology, Number 14, Rhodes University 1996.
Grahamstown: International Library of African Music, 1997: 8-12.

Muller, Carol Ann:
Chakide – The Teller of Secrets:
Space, Song, and Story in Zulu Maskanda Performance.
in: Brown, Duncan (ed.):
Oral Performance and Literature in Southern Africa.
Athens, Ohio: Ohio University Press & Oxford: James Currey, 1999: 220-234.
Reprint
Oxford: James Currey, 2012: 220-234.

Muller, Carol Ann:
Capturing the ‘Spirit of Africa’ in the Jazz Singing of
South African-Born Sathima Bea Benjamin.
Research in African Literatures (Bloomington, Ind.), Vol. 32, No. 2, 2001: 133-152.

Muller, Carol [Ann]:
Covers, Copies, and “Colo[u]redness” in Postwar Cape Town.
Cultural Analysis (Berkeley, Calif.), Vol. 3, 2002: 19-46.

Muller, Carol Ann:
South Africa and American Jazz: Towards a Polyphonic Historiography.
History Compass (Hoboken, N.J.), Vol. 5, Issue4, 2007: 1067-1077.

Muller, Carol [Ann]:
Sathima Bea Benjamin:
Musical Echoes and the Poetics of a South African-American Musical Self.
in: Hellier, Ruth (ed.):
Women Singers in Global Contexts: Music, Biography, Identity.
Urbana, Ill.: University of Illinois Press, 2013: 161-176.

Muller, Carol Ann:
Musical Remembrance, Exile and the Remaking of South African Jazz (1960–1979).
in: Bithell, Caroline & Juniper Hill (eds.):
The Oxford Handbook of Musical Revival.
New York, N.Y.: Oxford University Press, 2014: 644-665.

Muller, Carol [Ann] & Janet Topp Fargion:
Gumboots, Bhaca Migrants and Fred Astaire:
South African Worker Dance and Musical Style.
Africa Music (Grahamstown), Vol. 7, No. 4, 1999: 88-109.

Ngcobo, Nhlanhla:
Glimpses into South Africa – A Perspective through Juluka Music.
Reality (Pietermaritzburg), Vol. 14, No. 1, January 1982: 4-6.

Niaah, Sonjah Stanley:
A Common Space:
Dancehall, Kwaito, and the Mapping of New World Music and Performance.
The World of Music (Berlin), Vol. 50, No. 3, 2008: 35-50.

Nixon, Michael:
The World of Jazz in Inner Cape Town: 1940 to 1960.
Papers Presented at the Symposium on Ethnomusicology,  Number 13,
University of Zululand 1995 and at the Symposium on Ethnomusicology,
Number 14, Rhodes University 1996.
Grahamstown: International Library of African Music, 1997: 19-23.

Nkonyeni, Ncedisa:
Da struggle continues into the 21st Century:
Two Decades of Nation-Conscious Rap in Cape Town.
in: Field, Sean; Renate Meyer & Felicity Swanson (eds.):
Imagining the City, Memories and Cultures in Cape Town.
Cape Town: Human Sciences Research Council Press, 2007: 151-172.

Nowotny, Norbert:
Mbaqanga and Mahlatini.
Papers presented at the 12th Symposium on Ethnomusicology, University of Natal 1993.
Grahamstown: International Library of African Music, 1994: 105-115.

Ntombela, Sipho Albert:
Maskandi: A Critical General Inductive Analysis of Zulu Maskandi Songs.
Southern African Journal for Folklore Studies (Pretoria), Vol 27, No 1, 2017: 42-52.

Odhoji, Benjamin M.O.:
“Restorying” the Maternal Myth of Origin in Zami and Makeba: My Story.
Safundi: The Journal of South African and American Studies (Abigdon), Vol. 9, Issue 2, 2008: 155–192.

Offei-Ansah, Jon:
Graceland: Cultural Harmony.
West Africa (London), 22/29 December 1986: 2677-2678.

Olsen, Kathryn:
‘Mina ngizokushaya ngengoma’/‘I will challenge you with a song’:
Constructions of Masculinity in Maskanda.
Agenda (Abingdon), Vol. 16, Issue 49, 2000-2001: 51-60.

Opondo, Patricia Achieng:
African Music in Global Diasporic Discourse:
Identity Explorations of South African Artist Johnny Mbizo Dyani.
in: Akrofi, Eric; Maria Smit & Stig-Magnus Thorsén (eds.):
Music and Identity. Transformation and Negotiation.
Stellenbosch: Sun Press/African Sun Media, 2007: 257-276.

Peterson, Bhekizizwe:
Kwaito, ‘dawgs’ and the Antimonies of Hustling.
African Identities (Abingdon), Vol. 1, Issue 2, 2003: 197-213.

Pieterse, Edgar:
Hip‐Hop Cultures and Political Agency in Brazil and South Africa.
Social Dynamics (Cape Town), Vol. 36, Issue 2, 2010: 428-447.

Pietilä, Tuulikki:
Body Politic: The Emergence of a “Kwaito Nation” in South Africa.
Popular Music and Society (Abingdon), Vol. 36, Issue 2, 2013: 143-161.

Prince, Rob:
South Africa – Music in the Shadows.
in: Hanly, Francis & May, Tim (eds.):
Rhythms of the World.
London: BBC Books, 1989: 98-107.

Pritchard, Gary:
Cultural Imperialism, Americanisation and Cape Town
Hip‐Hop Culture: A Discussion Piece.
Social Dynamics (Cape Town), Vol. 35, Issue 1, 2009: 51-55.

Pyper, Brett:
Sounds like John Matshikiza’s Jazz Writing for Drum Magazine, 1951-1957.
Glendora Review: African Quarterly on the Arts (Lagos), Vol. 3, No. 3 & 4, 2004: 13-22.

Raditlhalo, Sam:
The Self-Invention of Hugh Masekela.
Journal of Literary Studies (Abingdon), Vol. 25, Issue 1, 2009: 34-52.

Ramanna, Nishlyn:
Contemporary South African Jazz and the Politics of Place.
Social Dynamics (Cape Town), Vol. 30, Issue 2, 2004: 112-127.

Ramanna, Nishlyn:
Biography, Taste, and Identity Construction in the Production
and Reception of some Contemporary South African Jazz.
South African Journal of Musicology (Matieland), Vol. 25, 2005: 71-82.

Reitov, Ole:
The Censored Meet their Censor – Music and Censorship during Apartheid in South Africa.
Ray Phiri (Musician), Sipho Mabuse (Musician) & Cecile Pracher (SABC).
in: Korpe, Marie (ed.):
First World Conference on Music and Censorship. Copenhagen, 20-22 November 1998.
Copenhagen: Freemuse, 2001: 21-44.
Reprint page 21-38
Music and Censorship in Apartheid South Africa: Roundtable, the Censored meet their Censor.
Glendora Review: African Quarterly on the Arts (Lagos), Vol. 3, No. 3 & 4, 2004: 84-92.

Reitov, Ole:
Encounters with a South African Censor: Confrontation and Reconciliation.
in: Korpe, Marie (ed.):
Shoot the Singer. Music Censorship Today.
London: Zed Books & Copenhagen: Freemuse, 2004: 82-87.

Roosenschoon, Hanns:
Keeping our Ears to the Ground:
Cross-culturalism and the Composer in South Africa, ‘Old’ and ‘New’.
in: Floyd, Malcolm (ed.):
Composing the Music of Africa: Composition, Interpretation, and Realization.
Aldershot & Brookfield, Vt.: Ashgate, 1999: 265-290.

Rorich, Marc:
Shabeens, Slumvards and Sophiatown: Black Women.
Music and Cultural Change in Urban South Africa c. 1920-1960.
World of Music (Berlin) Vol. 3, No. 1, 1989: 78-101.

Rycroft, David:
Melodic Imports and Exports: A By-Product of Recording in Southern Africa.
British Institute of Recorded Sound Bulletin (London), No. 3, Winter 1956: 19-21.

Rycroft, David:
The New ‘Town Music’ of Southern Africa.
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Rycroft, David:
African Music in Johannesburg: African and non-African Features.
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Rycroft, David:
Evidence of Stylistic Continuity in Zulu “Town” Music.
in: Essays for a Humanist: An Offering to Klaus Wachsmann.
New York, N.Y.: Town House Press, 1977: 216-260.

Rycroft, David K.:
Black South African Music since the 1890’s:
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Shebeens, Slumyards and Sophiatown.
Black Women, Music and Cultural Change in Urban South Africa c 1920-1960.
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Kwaito Culture and the Body: Nonpolitics in a Black Atlantic Context.
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Satyo, Sizwe:
A Linguistic Study of Kwaito.
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Schumann, Anne:
The Beat that Beat Apartheid:
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Stichproben. Wiener Zeitschrift für kritische Afrikastudien (Wien), Nr. 14, 8. Jahrgang, 2008: 17‐39.

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Afrique du Sud : le hip-hop à la marge.
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Pitch Black Language: The Quest for Language Purity in isiZulu Popular Music.
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Pop Music and Resistance in Apartheid South Africa.
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Pop Music and Resistance in Apartheid South Africa.
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  • Mortaigne, Veronique:
    Cesaria Evora. La voix du Cap-Vert.
    Arles: Actes Sud, 1997. 203 p.

    ISBN 2-7427-1152-X 

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  • Johnson, John William:
    ‘Heelloy’. Modern Poetry and Songs of the Somalis.
    London: HAAN Publishing, 1998. xxiii & 241 p.
    ISBN 978-1-874-20981-2

    CONTENTS

    Foreword to the first edition by B. W. Andrzejewski ix
    Foreword to the 1996 edition by Abdilahi Qarshi xi
    Preface to the first edition xv
    Preface to the 1996 edition xxiii

    1. Introduction
    The social context 1
    The Nature of Traditional Pastoralist Poetry 12
    The Historical Development of Modern Oral Poetry 17

    2. The Family of Miniature Genres
    The Nature of the Family of Miniature Genres 27
    The Poetry of the Miniature Family 32

    3. The emergence of the Belwo
    The Historical Background 49
    The Belwo is Born 53
    The Poetry of the Belwo 59

    4. The Heello: Period One
    The Metamorphosis: Belwo to Heello A 75
    The Modem Poem: Heello A to Heello B 82

    5. The Heello: Period Two
    The Historical Background 95
    The Poetry of the Second Period 103

    6. The Heello: Period Three
    The Historical Background 117
    The Poetry of the Third Period 146

    7. Characteristics of the Heello: All Periods
    Themes Common to All Periods 175
    Structural Characteristics and
    Development Common to All Periods 190
    The Impact of Media on Modern Poetry 208

    8. Conclusion
    The Inheritance of the Heello 215
    Forces Behind the Success and Development of Modern Poetry 216

  • Collins, [Edmund] John:
    Fela. Kalakuta Notes. 2nd edition
    Middletown, Conn.: Wesleyan University Press, 2015.  xii & 326 p.
    ISBN 978-0-8195-7539-5 (paper) 978-0-8195-7540-1 (ebook)

    CONTENTS

    Foreword by Banning Eyre ix
    Introduction 1

    Part 1 Early Days
    1 The Birth of Afrobeat 27
    2 Joe Mensah Remembers 41
    3 Fela in Ghana 49
    4 Stan Plange Remembers 29

    Part 2 Confrontation
    5 Kalakuta is Born 67
    6 “JB” Talks about Fela 73
    7 The Kalakuta Republic 81
    8 The Black President 114
    9 Amsterdam and After 125

    Part 3 Retrospect
    10 Mac Tontoh on Fela 139
    11 Frank Talk about Fela 152
    12 Obiba Plays It Again 165
    13 Smart Binete Sorts It Out 174
    14 Anku Checks Out the Beat 178
    15 Nana Danso Orchestrates 183
    16 Some Early Afro-Fusion Pioneers 197
    17 Interview with Fela 204
    18 Afterthoughts and Updates 209
    19. Felabrations at Home and Abroad 238

    Chronology 259
    Notes 269
    Selected Bibliography 281
    Discography 285
    Appendix A: “Shuffering and Shmiling” Score 303
    Index 309

  • Erlmann, Veit (ed.):
    Populäre Musik in Afrika.

    Veröffentlichungen des Museum für Völkerkunde.
    Neue Folge 53. Abteilung Musikethnologie VIII.
    Berlin: Museum für Völkerkunde, 1991. 312 pp. & 2 CDs.
    ISBN 3-88609-213-5

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  • Mortaigne, Veronique:
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    Arles: Actes Sud, 1997. 203 p.

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  • Sweeney, Philip:
    Directory of World Music. A Guide to Performers and their Music.
    With Contributions from Peter Gabriel, Andy Kershaw, Giberto Gil [&] Manu Dibango.
    London: Virgin Books, 1991. 262 p.
    Section Africa 1-81
    ISBN 0-86369-378-4

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    AFRICA

    The North and West
    Introduction: Peter Gabriel 1
    Libya 3
    Tunisia 5
    Algeria 6
    Morocco 13
    Mauritania 16
    Senegal 17
    Mali 20
    Guinea 26
    Guinea-Bissau 29
    Cape Verde 29
    Sierra Leone 31
    Côte d’Ivoire 32
    Ghana 34
    Togo and Benin 36
    Nigeria 37

    Central Africa, The South and East
    Introduction: Manu Dibango 42
    Cameroon 44
    Zaire 49
    Congo 56
    Gabon 56
    Angola 57
    Zambia 58
    Mozambique 59
    Zimbabwe 60
    South Africa 65
    Madagascar 70
    Mauritius and Reunion 71
    Tanzania and Zanzibar 72
    Kenya 74
    Uganda 76
    Burundi 76
    Ethiopia 77
    Sudan 79

  • Lee, Hélène:
    Rockers d’Afrique. Stars et légendes du rock mandinque.
    Paris: Albin Michel, 1988. 223 pp.
    ISBN 2-226-03 139-1 

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