Dr. Jessica Rucell
Jessica is an expert in international development, gender inequality and has worked in the United States, Asia and Africa. She has directed programs, research and advocacy on violence against women, cultural preservation and humanitarian response. Her contributions have had practical impact on policy, service delivery and advocacy. Jessica’s work through AOI aims to expand South African art and literary canons and respond to the call to decolonise South African university research and teaching.
Her training is interdisciplinary. Jessica applies archival, quantitative and qualitative methods to her research and has taught sociology, human rights law, and history. She holds a PhD in Politics and International Development, University of Leeds, UK; a MA in Development Studies, University of Rotterdam, Institute of Social Studies, NL, and a BA in Asian Studies, The New School University, US.
I hold an MA(FA) and a BA(Hons) from University of Cape Town, as well as a BA in education from University of Cologne. My research MA on South African Jazz photographydrew critical reflections on Fine Arts, Social history and Music. Before my employment at UCT Libraries in 2015 as manager of the Digital Library Services department, I worked as digitisation manager at the Centre for Popular Memory (UCT), as an art teacher, heading the Visual Arts Department at the German International School Cape Town, and as an archivist at the Art and Exhibition Hall of the Federal Republic of Germany. In between, I have maintained a richly diverse freelance career, including lecturing in theory and discourse of art and critical studies at tertiary institutions in Cape Town and Stellenbosch, giving workshops in video, sound and photography, as well as writing reviews, exhibiting my photographic art, and performing as a drummer in the free improvisation ensemble ‘As Is.’ I am a research associate at Africa Open Institute for Music, Research and Innovation at Stellenbosch University.
• Niklas Zimmer (2015) Percival Kirby’s wax cylinders: elegy on archiving a deaf spot, Social Dynamics, 41:1, 101-123, DOI: 10.1080/02533952.2014.988931
• Peters, D., Brenzinger, M., Meyer, R., Noble, A., & Zimmer, N. (2015). The digital library in the re-inscription of African cultural heritage. IFLA Journal, 41(3), 204–210. https://doi.org/10.1177/0340035215603990
Aryan Kaganof is a project of African Noise Foundation
List of films produced by AOI – Stellenbosch University.
The (missing) Legend of Jiwe (42min23sec) 2018
A Word As Heavy As Bullets (27min50sec) 2018
nege fragmente uit ses khoi psalms (20min59sec) 2018
Graham Newcater – Of Fictalopes and Jictology (6min56sec) 2018
Suiwer (47min08sec) 2017
Daniel-Ben Pienaar: Removing The Room (6min17sec) 2017
Hauntology For Mark Fisher (4min12sec) 2017
Say It With Flowers (24min24sec) 2017
Roesdorp Naklank (3min38sec) 2017
String Quartet #3 For Four Cameras (28min36sec) 2017
Metalepsis in Black (82min09sec) 2016
Your Silence Is Painful (13min05sec) 2016
khoisan ghost kreun (16min33sec) 2016
Opening Stellenbosch: From Assimilation To Occupation (104min54sec) 2016
Kreun (17min01sec) 2016
Threnody For The Victims of Marikana (16min26sec) 2015
Night Is Coming (66min17sec) 2014
An Inconsolable Memory (99min02sec) 2014
Stellenbosched (9min07sec) 2013
Dr Bridget Rennie-Salonen’s PhD (2018) focused on tertiary music students’ occupational health curriculum content, implementation, and assessment. The methodology was Interpretative Phenomenological Analysis. Bridget is part of a Worldwide Universities Network international collaborative project, the Musicians’ Health Literacy Consortium, researching musicians’ health literacy and tertiary musicians’ health education. She is a Research Fellow at the Africa Open Institute for Music, Research, and Innovation at Stellenbosch University. As both a researcher and practitioner in musicians’ health, with expertise in somatic learning, she is interested in the interaction of the physiological, psychological, behavioural, and artistic aspects in performers. Her extensive experience as a music educator informs her research, and her ongoing performance output contributes valuable perspectives to both her research and pedagogy. She is a part-time lecturer at the Stellenbosch University Music Department, and the South African College of Music at the University of Cape Town. She is highly sought after as a flute teacher, and many of her students have excelled nationally and internationally, several occupying positions in South African orchestras. As a well-known performer, she is active as a solo, chamber and freelance principal orchestral flautist, and has appeared as soloist with several South African orchestras. Whilst the Solo Principal Flute of the Cape Town Philharmonic Orchestra, she was the recipient of the prestigious Ben & Faye Carklin Award for Artistic Excellence. Recent awards include Fiesta, Silver Ovation, and Oppenheimer Memorial Trust awards. She is the principal flute of the Cape Town Festival Orchestra, permanent guest principal with the Free State Symphony Orchestra, and is the Baroque traverso flautist with the Camerata Tinta Barocca, SA’s premier Baroque ensemble.
Baadjou, V.A., Wijsman, S.I., Ginsborg, J., Guptill, C., Rae De Lisle, Rennie-Salonen, B., Visentin, P. & Ackermann, B.J. 2019. Health education literacy and accessibility for musicians: a global approach. Report from the Worldwide Universities Network project. Medical Problems of Performing Artists, 34(2). [Forthcoming]
Salonen, B.L. 2018. Tertiary music students’ experiences of an occupational health course incorporating the Body Mapping approach. PhD thesis. Bloemfontein: University of the Free State, South Africa.
Rennie-Salonen, B. & De Villiers, F. 2016. Towards a model for musicians’ occupational health education at tertiary level in South Africa. Muziki, 13(2):130-151. DOI: 10.1080/18125980.2016.11828232016
2017: Collaboration in tertiary level musicians’ occupational health education in South Africa’ National Performing Arts Health Symposium, 2 – 3 October 2017, UNISA, Pretoria, SA.
2017: Towards a model for musicians’ occupational health education at tertiary level in South Africa 35th Annual PAMA (Performing Arts Medicine Association) International Symposium: “No Gain with Pain: Preventing and Overcoming Physical and Emotional Pain in Performing Artists”, 29 June – 2 July 2017, Snowmass, Colorado, USA
2017: A collaborative model for musicians’ occupational health education, with particular emphasis on the role of Body Mapping in the somatic education component Andover Educators’ 8th Biennial International Conference: “The Empowered Musician: Redefining and Embodying True Success”, 24-29 June 2017, Schwob School of Music, Columbus State University, Columbus, Georgia, USA
2015: Congress of the South African Society for Research in Music (SASRIM), 16 – 18 July 2015, South African College of Music, University of Cape Town: Student musicians’ experiences of an occupational health course based on the Body Mapping approach.
2015: Andover Educators Biennial International Conference, 18 - 21 June 2015, Portland State University, Portland, Oregon, USA: Student musicians’ experiences of an occupational health course based on the Body Mapping approach.
2013: International Conference on Music and Well-Being, North-West University, Potchefstroom: Musicians’ Well-Being; Body Mapping, awareness and the senses for enhanced performance and teaching.
Oladele Ayorinde, educator, pianist and cultural entrepreneur, is a ‘THInK’ (Transforming the Humanities through Interdisciplinary Knowledge) Doctoral Fellow at the University of the Witwatersrand (Wits), Johannesburg, South Africa. Recently, he was also appointed as a Research Fellow of the Africa Open Institute for Music, Research and Innovation, Faculty of Arts and Social Sciences, Stellenbosch University, Cape Town, South Africa. Situated within Music and Anthropology, Oladele’s research project is exploring the nexus between music, agency and social transformation in contemporary Africa. His Master’s thesis entitled Dizu Plaatjies and the Amampondo: music, agency and social transformation explored how music and music-making could inform social and economic empowerment among the previously disadvantaged people in South Africa. His research shows how social agencies draw on music as social and cultural capital to negotiate a place in the socio-economic and socio-political structure of pre-and–post-1994 South Africa. According to him, discourse on ‘transformation’ should be re-focused on social and economic empowerment of the South African people, especially the previously disadvantaged people. In his PhD studies, focusing on Fuji music – a contemporary Yoruba popular music form – Oladele is exploring how the so called ‘street musicians’ are re-imagining the society through their music, music-making and ‘associated practices’, and how this enterprise is informing socio-cultural, political and economic transformation in Lagos. More specifically, through the lens of Fuji music and its agencies, his research aims to understand processes of cultural and socio-economic empowerment strategies among Fuji musicians in Lagos, Nigeria.
Ayorinde, O. (forthcoming). “Negotiating Change, Preserving Tradition: Music, Performance and the Transformation of Eyo Festival of Lagos, Nigeria”. In Africa.
Ayorinde, O. (2018). “‘Unholy Trinity’ and ‘Transformation’ in Post-1994 South Africa: Re-focusing ‘Transformation’ in Higher Education for Social and Economic Empowerment”. In Leeds African Studies Bulletin, 80: 42-59.
Ayorinde, O. and Sunu Doe, E. (2018). “’African Music’, an Elusive Concept: Rethinking Music Education and Scholarship for Social and Economic Development in Africa”. Pistorius, M (ed.), Conference Proceedings of the South African Society for Research in Music (SASRIM) 2017, 29 - 44.
Ayorinde, O. (2017). “Musical Arts Education for Cultural, Social and Economic Development in Africa: Possibilities and Practice”. In Journal of Musical Art Education, 1 (2): 15-29.
Juliana M. Pistorius is a Leverhulme Early Career Research Fellow at the University of Huddersfield. She received a DPhil in Musicology from the University of Oxford in 2018. Her research investigates opera, migration, and the politics of coloniality and decoloniality in apartheid and post-apartheid South Africa. As the managing editor of SAMUS: South African Music Studies, she takes an interest in matters of access and linguistic diversification. She is Treasurer of the South African Society for Research in Music (SASRIM).
‘Coloured Opera as Subversive Forgetting’, Social Dynamics: A Journal of African Studies, 43(2), 2017, 230-242.
‘Eoan, Assimilation, and the Charge of “Coloured Culture”’, SAMUS: South African Music Studies, 36/37, 389-415.
‘Decolonising Music: A Response and Three Positions’ (with N. Muyanga, W. Fourie and C. Venter), SAMUS: South African Music Studies, 36/37, 129-156.
‘Inhabiting Whiteness: The Eoan Group La Traviata, 1956’, Cambridge Opera Journal (forthcoming).
Stephanus Muller, Nagmusiek [Night Music], in Fontes Artis Musicae, 62(2), 2015, 130-32.
Eoan History Project, Eoan: Our Story, in Muziki: Journal of Music Research in Africa, 14(1), 2017, 140-43.
William Kentridge and Philip Miller, The Head and the Load [Performance Art], SAMUS: South African Music Studies, 38, 2018 (forthcoming).
David Marks works as a musician, songwriter, sound engineer, and producer of South African music. In 1971 he took over as the director of the 3rd Ear Music Company, a small independent record company interested in recording, promoting and producing music that was not considered as commercially viable or seen as too political by the major record companies.
Through his work as a sound engineer and the director of the 3rd Ear Music Company, Marks amassed a collection of material that documents South African music from the mid 1960s to the early 2000s. In 1990 Marks formed the Hidden Years Music Archive Project to safeguard and preserve the material he collected. The collection has been estimated to contain around 175 000 items, amounting to seven tons of material that documents diverse musical styles ranging from urban folk to township jazz, country rock, choirs, maskanda and traditional musics.
Marks engineered and produced over 100 records, including records for the South African Folk Music Association, Hawk, Mike Dickman, John Oakley-Smith, Brian Finch Jannie Hofmeyr, and the hard rock group of Piet Botha called Raven. A selective list of releases includes:
Malombo, Music of the Spirit (1971, 3ee 001)
Flibbertigibbet, Whistling Jigs to the Moon (1976, 3ee 7002)
Paul Clingman, Father to the Child, (1977, 3ee 7000)
Marks formed the Look South record label with Hugh Masekela, to release the album Hugh Masekela, Live in Lesotho (3ee 7006)
Colin Shamley, Born Guilty (1978, 3ee 7005)
Roger Lucey, The Road is Much Longer (1979, 3ee 7004)
Laurika Rauch’s “Kinders van die Wind”
David Scobie’s “Gypsey Girl”
1965-1968 Compose various songs including Master Jack, Mr. Nico, Mountains of Men, Fairygold, and Hey Mister. Master Jack was recorded by the music group Four Jacks and a Jill in 1968. The song was number eight on the American Billboard hot 20, and number one in South Africa, Canada, New Zealand, Australia, Malaysia and Zimbabwe.
1968 Won a Sarie award for song of the year for his composition Master Jack.
1968 Worked at the International Library of African Music for Hugh Tracey.
1968 Co-founder of the Natal Folk Music Association (NAFMA) in Durban with Bob Wilson and Verlein “Ginger” Seipp.
1969 Worked for the Bill Hanley Sound Company based in Boston America. As part of this team, Marks did the sound for musicians and groups including The Rolling Stones, Joan Baez, Donovan, Hoyt Axton, the Turtles, and Jimi Hendrix. Marks worked at the Newport Folk Festival and the Woodstock Music and Arts Fair.
1969 First time to mix sound live at the Live Peace in Toronto festival for John Lennon’s Plastic Ono Band.
1970 Ran the TOTUM club in Durban with Richie Morris and Brian Finch.
1970-1976 In collaboration with Tony Campbell, established and ran an annual multi-racial concert, Free People Concert, Wits Campus.
1971-2018 Director of the 3rd Ear Music Company, an independent record and publishing company.
1971-1973 Serve as the Chair of South African Folk Music Association (SAFMA)
1973 Worked with Des and Dawn Lindberg on the theatre project Godspell in Maseru, Lesotho. Show was banned by South African apartheid government but later allowed to be performed after the Lindberg’s won their court appeal.
1976-1979 Worked alongside Mannie Manim and Barney Simon at the Market Theatre in Johannesburg where he and his wife, Frances Marks, ran the Market Theatre Café.
1980 Established Le Chaim (coffee club) in collaboration with Tony Campbell and Dave Berman; established the Chelsea Underground (coffee club) with Rodney Barnet and Stan James, Roger Lucey and Dr Randy Speer; established Le Plaza for Paul Mikula and Ian Lindsay’s hotel.
Worked for Peter Hubner and Ton Den Tueling’s record company, Emcdee (Cape Town) and Dave Emery’s Corporate Planning in Four Ways (Johannesburg) recording and producing audio visual soundtracks for major corporations.
1987 Founding member of the Musician’s Association of Natal (MANA)
1989 Co-founder of the Natal Cultural Council (NCC), Durban
1989 Serves on the transition board of the Playhouse/NAPAC, Durban.
1990-1995 Involved in founding the annual festival Splashy Fen, the longest running music festival in South Africas, as Sound Engineer.
1994 Produced the first “official” music event to take place in South Africa in the New Democracy with the singer-songwriter Shawn Philips and the veteran folk music promoter Theo Coetzee, on 27 April 1994.
1995 Tour with Kinky Friedman in South Africa
1996 Tour with legendary Crosby, Stills and Nash in South Africa
Other musicians Marks toured with as a sound engineer in Southern Africa from 1970 includes Mungo Jery (Ray Dorset), Rod McKuen, Uri Geller, Isaac Hayes, Jimmy Smith, Stanley Turentine, Spike Milligan, Margaret Singana, Richard Jon Smith, Johnny Clegg and Sipho Mchunu, Ladymsith Black Mambaso, Percy Sledge, and Stephan Grappelli.
1997 Marks record his debut album, The Hidden Years, featuring 72 musicians Marks worked with since 1964, including Hugh Masekela, Ladysmith Black Mambazo, Jonny Blundell, Loraine Shannon, Robin Walsh, Wendy Oldfield, Anton Goosen, Edi Niederlander, Brian Finch, Aaron Jakes Lerole, Colin Shamley, Manfred Mann, Roger Lucey etc.
Invited to perform at the Anniversary of the Woodstock Music Festival on Maz Yasgur’s farm in Bethel, USA.
1999 Directed Guitars for Africa at WOMAD for Dan Choirboli.
Produced the Living Treasures Festival on the beach at St Lucia featuring musicians from 21 countries. Organised in collaboration with the Lombombo Spatial Development Initiative in association with Dan Choirboli’s Shongweni Living Treasures project.
Training of rural communities in music festival related events along the LSDI/Mozambique development route (including the communities of the Dudukuku forest settlements, Hlahluwe, Matubatubu, Richards Bay, Empangeni and St Lucia. This was set-up and managed in collaboration with Chris Faya and Mandy Lohner for Andrew Zaloumis’ LSDI project.
1990-2012 Worked as the archivist for the Hidden Years Music Archive Project.
2000-2010 Involved in the selection process of South African musicians for the R.E.M.Y. festival in Cameroon and Nantes 2000 in France; Shuttle 99 for Norway, and Roskillda in Denmark.
2012 Donate the Hidden Years music archive to the Documentation Centre for Music, Stellenbosch University.
2012-2018 Work as a research consultant and archivist for the Volkswagen Funded Research Project, directed by Dr Lizabé Lambrechts, Senior Research Fellow, Africa Open Institute, Stellenbosch University.
1966 Fanagalo Instruction manual for the Spring mines outside of Johannesburg
1977 Monthly column in music magazine Down the Line, Durban.
1970-1990 Various newspaper contributions about music, the state of music and broadcasting in South Africa for the English press including The Star and Rand Daily Mail.
2010-2018 Preparing a biographical manuscript detailing the life and work of David Marks that led to the creation of the Hidden Years music archive.
William Fourie is a doctoral student in the Department of Music at Royal Holloway, University of London. Under the supervision of Prof. J. P. E. Harper-Scott, he investigates musical modernism in post-apartheid South Africa. He holds an MSt in Musicology from Merton College, University of Oxford and a BMus degree from Stellenbosch University, and is an Associate Fellow of the British Higher Education Academy. He is the recipient of numerous merit award scholarships from Stellenbosch University and the South African Music Rights Organisation, the ‘Konservatorium Stipendium’ award from SU’s department of music, a Clarendon scholarship and a Greendale scholarship issued by Merton College. He is also the recipient of an Oppenheimer Memorial Trust scholarship, the Royal Holloway International Postgraduate Fee Waiver, and RHUL’s Department of Music maintenance grant. William has published articles on South African music in SAMUS and Muziki, and has a forthcoming co-authored chapter in an Edinburgh University Press volume on Jacques Rancière and music. He has presented conference papers in the UK, USA, Portugal, South Africa, Brazil, Germany, and Ireland. Outside of his academic career, William enjoys working as an arts administrator. He curated the 2016 Unyazi Electronic Music Festival and acted in various advisory roles on a number of other new music productions.
Fourie, W and C Venter, ‘Kidnapping Rancière’ in Rancière and Music (eds.) J P Cachopo, P Nickleson and C Stover (Edinburgh University Press) (forthcoming)
‘Spectral Dissensus: Politics in Andile Khumalo’s Bells Die Out’ in SASRIM 2017 Conference Proceedings (ed.) Mareli Stolp (SASRIM, 2019), 2-11.
Splinter and Loss: Reading Clare Loveday’s Johannesburg Etude 2’, SAMUS: South African Music Studies 36/37 (2018), 464-489.
Venter, C, J M Pistorius, N Muyanga and W Fourie, ‘Decolonising Musicology: Three Position Papers and a Response’, SAMUS: South African Music Studies 36/37 (2018), 129-154.
Urban Assemblage: Interdisciplinary Perspectives (ed.) W Fourie (Oxford: Inter-Disciplinary.net Press, 2016).
‘Silent Lines: Urban Space and the Aesthetics of Crime’, in Urban Assemblage: Interdisciplinary Perspectives (ed.) W Fourie (Oxford: Inter-Disciplinary.net Press, 2016), 15-24.
‘Heart of Redness by Neo Muyanga [review]’, Muziki: Journal of Music Research in Africa 12:2 (2016), 99-103.
‘Reading Skylines: Expanding Musicological Discourse in Post-Apartheid South Africa’, Muziki: Journal of Music Research in Africa 11:2 (2014), 4-18.
‘Performing Rzweski’s Coming Together/ Attica: A Manifesto’, NewMusicSA Bulletin 11/12 (2013).
‘Lingering Absences’, Art South Africa 12:2 (2013), 83-86.
In December 2018, Wayne Muller received his PhD degree in Musicology from Stellenbosch University with a thesis titled, A reception history of opera in Cape Town: Tracing the development of a distinctly South African operatic aesthetic (1985–2015). This study revisited the historiography of opera in South Africa and traced changes in the performance practices and views on the performed works. Themes such as transformation, contemporary relevance and the Africanisation of opera are explored as means of creating a distinctly South African operatic aesthetic. His research interest is in the history and performance of opera in post-apartheid South Africa. He complete a Master’s Degree in Journalism at Stellenbosch University in 2001, after studying BA Sociology and an Honours Degree in Journalism. Since starting his career in community newspapers in 2000, he has been involved in arts journalism. After working in the magazine industry for three years, he joined Die Burger in Cape Town in October 2007 as Assistant Arts Editor and specialist writer on not only classical music and opera, but also dance and theatre. In 2011, he joined Stellenbosch University as a Publications Editor. His interest in music stems from an early start with piano lessons at the age of 7, and becoming a church organist in his teens. While a student in Stellenbosch, he studied organ with Niel Pauw and singing with tenor Petrus van Heerden at the Stellenbosch Conservatoire, and is currently a singing student of Magdalena Oosthuizen. He has served as a judge of classical music performances for the kykNET Fiesta Prizes, Kanna Awards (KKNK), the Hans Gabor Belvedere International Singing Competition (media jury), as well as the Fleur du Cape Theatre Awards. From 2009 to 2017, he produced an annual classical music concert for the Suidoosterfees, and has been a member of the festival programme selection committees of the Suidoosterfees, KKNK, Aardklop, and the Vryfees in Bloemfontein. He is co-editor of the oral history book, Eoan – Our Story.
Mareli Stolp completed Bachelor of Music (2002) and Master of Music (2006) degrees at the University of Pretoria. Between 2003 and 2006, she was a student at the Conservatorium van Amsterdam in the Netherlands, where she studied with pianist Håkon Austbø, completing a Bachelor of Music Degree at the Conservatory of Amsterdam in 2006. She completed an Artistic Research PhD at the University of Stellenbosch with Professor Stephanus Muller in 2012.
Her main research interests are artistic research and South Africa music history and historiography.
2018: New music for new South Africans: the New Music Indabas in South Africa, 2000-2002. Journal of the Royal Musical Association Volume 142 (1), pp. 211-232.
2016: Report to the Academy: On Power and Ethics. Acta Academica Volume 48 (1), 2016.
2016: Settling the Score: Music and the Performer-Creator Approach in Nicola Elliott’s ‘Run’!. South African Theatre Journal Volume 29, 2016.
2016: ‘Thinking Through’ Voyeur Piano: Strategies and Outcomes for an Artistic Research Project. De Arte Volume 51 (1), 2016.
2016: Van Opera tot ‘Politopera’: nuwe strominge in Suid-Afrikaanse Opera Komposisie en Resepsie. LITNET Akademies March 2016.Download
2015: Analyzing ‘from the inside out’: Frederic Rzewski’s ‘De Profundis’ from a Performer’s Perspective. SAMUS Volume 35, 2015.
2013: Yemoja in Momente: ‘n Uitvoerderperspektief. Tydskrif vir Geesteswetenskappe 53/2. 2013.
2012: Practice-based Research in Music: International Perspectives, South African Challenges. SAMUS 32, 2012.
2011: Review Article: Beethoven Sonatas for Piano and Cello; Peter Martens (cello) and Luis Magalhaes (piano). SAMUS Volume 30/31, 2011.
2017: Guest Editor: Clare Loveday, Composer at 50. Editorial and extended interview. SAMUS Volume 36/37.
2016: Response to the Academy. Acta Academica Volume 48 (2).
2016: Review: Shana L. Redmond: Anthem: Social Movements and the Sound of Solidarity in the African Diaspora. 1st Edition. 2014. 345 pp. ISBN number 978-0-8147-7041-2. Muziki Volume 13.
2013: Performing contemporary music in present-day South Africa: An interview with Jill Richards. New Music SA Bulletin issue 9/10, 2010-2011.
2012: LITNET Akademies: Jack Parow se “Tussen stasies”: uniek of stereotiep?Download
2012: LITNET Akademies: Lang Lang – Enkele opmerkings oor vertoonkuns, verhoogkuns en virtuositeit.Download
2007: Transcending Time: Messiaen’s Approach to Time in Music. MUSICUS 2007/2.
2007: MMUS Dissertation published by VDM Publishing, Germany as Transcending Time: Messiaen’s Approach to Time in Music, ISBN 978-3-639-09574-6
2018: The 2017 DHET Policy on the Evaluation of Creative Outputs and Innovations: questions, challenges, new directions. Paper to be presented at the South African Society for Research in Music Annual conference, Durban, 29 August – 1 September 2018.
2017: Making opera ‘from the South’: Neo Muyanga’s Heart of Redness. Paper presented at the South African Society for Research in Music Annual conference, Potchefstroom, 31 August – 2 September 2017.
2017: Navigating the Constellation: Artistic Research, Self-reflexivity and Dissemination of Knowledge. Paper presented at the Society for Artistic Research Annual Conference, Helsinki, Finland, 28-29 April 2017.
2017: Against the grain of invented tradition: South African Opera and Neo Muyanga’s Heart of Redness. Paper presented at the Orpheus Institute for Advanced Studies in Music Doctoral Conference, Ghent, Belgium, 22-23 February 2017.
2016: Analysis, Meaning and Make-believe: Entry Points to Four Portraits and the life of Christopher Langford James. Paper presented at the South African Society for Research in Music Annual conference, Bloemfontein, 25-27 August 2016.
2015: Yemoja in Moments: Analysis from a Performer Perspective. Lecture recital presented at the South African Society for Research in Music Annual conference, Cape Town, 16-18 July 2015.
2015: Analysing from the inside out: Frederic Rzewski’s ‘De Profundis’ from a performer’s perspective. Lecture recital presented at the Performa Conference on Performance Studies, Aveiro, Portugal, 11-13 June 2015.
2014: Making Voyeur Piano: on Composition and Site-Specific Performance. Lecture recital presented at the South African Society for Research in Music Annual conference, Johannesburg, South Africa, 12 – 14 September 2014.
2014: The City as Phantasmagoria. Paper presented at the Wits Institute for Social and Economic Research Conference ‘New Ethnographies of Johannesburg’, Johannesburg, South Africa, 12 – 13 August 2014.
2014: Ethical by Default? The Regulation of Research Ethics as a Mechanism of Power. Paper presented at the UNISA ‘Contesting Freedoms: A Colloquium on Music Studies in a Democratic South Africa’, Pretoria, South Africa, 27-28 March 2014.
2014: On Voyeurs and Walkers: A Performance Experiment. Paper presented at the Orpheus Institute for Artistic Research Conference ‘The Limits of Control’, Ghent, Belgium, 26 - 28 February 2014.
2013: Performing the Argument: Site-Specific Performance and Practice-based Research. Paper presented at Performa International Conference on Performance Studies. Porto Alegre, Brazil, 31 May – 2 June 2013.
2013: Performing the Argument: Site-Specific Performance and Practice-based Research. Paper presented at South African Society for Research in Music Annual Conference, East-London South Africa, 18 July – 20 July 2013.
2013: Music, Politics and the Academy. Paper presented at a round table discussion at South African Society for Research in Music Annual Conference, East-London South Africa, 18 July – 20 July 2013.
2013: Post-Everything Poster Boy: Spoek Mathambo’s “Control” as Urban Landscape. Paper presented at the Conference of the Hearing Landscape Critically: Music, Place and the Spaces of Sound Network, Stellenbosch, 9 September – 11 September 2013.
2012: The Magic of the Mix: “De Profundis” for A Speaking Pianist by Frederic Rzewski. Lecture Recital and Paper presented South African Society for Research in Music Annual Conference, Pretoria, 19 July – 21 July.
2012: Standards in Higher Education. Keynote Address: South African Association for Institutional Research Annual Forum, Bloemfontein, 3 October – 5 October 2012.
2011: An Issue of Content: Mimesis and Simulacrum in Contemporary South African Concert Practice. Paper presented South African Society for Research in Music Annual Conference, Grahamstown, 23 June – 25 June 2011.
2011: Performance and Research. Paper presented at a round table discussion, South African Society for Research in Music Annual Conference Grahamstown, 23 June – 25 June 2011.
Michael Blake was born in 1951 in Cape Town and left South Africa in 1977 to settle in London where he continued his studies and formed the alternative new music ensemble London New Music. Returning to South Africa in 1998, he established the ISCM South Africa, the New Music Indaba and Unyazi festivals and the Sterkfontein Composers Meeting. He has been visiting professor at universities and conservatoires in America, Europe and South Africa, and has given masterclasses as far afield as Bolivia and Japan.
Largely self-taught as a composer, his work is associated with conceptual art and the beginning of an experimental music movement in South Africa in the 1970s. His output extends from solo piano music and string quartets to orchestral music and opera. In 1976 he began a series of pieces based on African composition techniques, continuing in recent years to explore a postmodern aesthetic in a range of different styles. He was described in the Musical Times in 2011 as “perhaps the first South African composer to be unselfconsciously an African composer. His are the blueprints and stratagems of a new cosmopolitan South African sound”.
He has worked with the Fitzwilliam String Quartet, Ensemble Bash, Fidelio Trio, Stockholm Saxophone Quartet, Axelsson-Nilsson Duo, New Juilliard Ensemble, Stuttgart Chamber Orchestra, Mexico City Chamber Orchestra, and pianists such as John Tilbury, Michael Finnissy and Daan Vandewalle. In the past few years he has had commissions and performances at international festivals including Festival d’Automne à Paris, Ars Musica Belgium, World Music Days Slovenia, as well as in New York, Mexico City, Tokyo, Vienna, Milan, Cologne, Stockholm, Vilnius etc. His music has been recorded on a dozen CDs, and a Wergo CD of his complete cello music with Friedrich Gauwerky and Daan Vandewalle will be released in April 2018.
He has collaborated with fimmakers and artists, notably Willem Boshoff in the multimedia piece ‘Scoring Boschpoort’. His first artist book, ‘Five Pieces for Piccolo and Tuba’, is being released in a signed limited edition later this year.
He currently divides his time between his home, in France, and South Africa where he is Honorary Professor of Experimental Music at Africa Open Institute, University of Stellenbosch.
www.michaelblake.co.za https://soundcloud.com/ichaellake https://vimeo.com/album/3290650
All details on my website: www.michaelblaek.co.za Articles: http://www.michaelblake.co.za/articles-by-michael-blake Scores: http://www.michaelblake.co.za/works CDs: http://www.michaelblake.co.za/discography Recordings on the internet: https://soundcloud.com/ichaellake https://vimeo.com/album/3290650
Jürgen May, born in 1957, studied music in Bielefeld and musicology in Bonn. In 1989, he received his Ph.D. with a dissertation on early-seventeenth-century lute music. From 1984 to 1993 May worked on the edition of Beethoven’s letters at the Beethoven-Archiv Bonn. From 1999 to March 2018 he was Research Fellow at the Richard-Strauss-Institut Garmisch-Partenkirchen. He directed the Richard-Strauss-Quellenverzeichnis (Richard Strauss sources catalogue) and the edition of Strauss’s late writings, and is member of the advisory board of the Richard Strauss edition at the Bayerische Akademie der Wissenschaften. Since 2017, May is Associate Professor Extraordinary at AOI.
Jürgen May has conducted research into 19th and early 20th century composers, particularly Ludwig van Beethoven and Richard Strauss. One of his focusses is the interrelationship between creative output, biography, and social and political contexts. His publications include studies on the creative process, music and politics in National Socialist Germany, and biographical mythmaking. As an editor of texts rather than of music, his methodological approach is based on critical studies of sources in which he has considerable expertise. At AOI, May is currently preparing the research database “Genadendal Music Collections Catalogue” (GMCC), which will serve as a pilot project for MUSA, a comprehensive online platform for documentation of, and research into, music of southern Africa.
Clare Loveday is a Johannesburg-based composer. Striving to convey through music the complications of life in a post-colonial society, her works have been described by critics in turn as ‘obstinate and fierce, big-boned and raw’, ‘subtle’ and ‘elusive’. She is best known for her classical saxophone compositions and interdisciplinary collaborations and has worked with a number of award-winning artists including the Gerhard Marx and Nandipha Mntambo. She has received numerous awards, grants and commissions from organisations such as the Mellon Foundation, SAMRO Foundation and performers such as Duo Montagnard, Ensemble Reconsil Vienna and Guy Yehuda. She has had works performed throughout South Africa and in Australia, Europe, England and the US, including at the ISCM World New Music Days, Juilliard New York, the Royal College of Music in London and Festival d’Automne à Paris. Clare lectured music theory and composition for many years at Wits University and was awarded a Doctorate of Music in 2009.
For more info see, http://clareloveday.co.za/
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Chris Walton (*1963 in England) studied at the universities of Cambridge, Oxford and Zurich and held a postdoc Humboldt Fellowship at Munich University. He was head of Music Division at the Zentralbibliothek Zürich from 1990 to 2001. He also lectured at ETH Zurich and worked as an occasional freelance répétiteur and continuo player. He was appointed Professor and Head of Music Department at the University of Pretoria in 2001. Today he lectures in music history at the Musikhochschule Basel. He is an Honorary Member of the Allgemeine Musikgesellschaft Zürich and was awarded the Max Geilinger Prize in 2009 for his contribution to Swiss-British cultural ties.
Chris Walton is a music historian. He has published several books, many articles and reviews. His main research areas are Austro-German Romantic music from 1820 to 1950, Swiss music, and South African music. His books include biographies of the Swiss composers Othmar Schoeck (1886-1957) and Richard Flury (1896-1967), a study of Richard Wagner’s Zurich years, and a study of composers and their inspiration from Wagner to Alban Berg, Lies and Epiphanies, which has now been published in German translation.
Together with Stephanus Muller, Walton has edited two books on South African music: A Composer in Africa: Essays on the Life and Work of Stefans Grové and Gender and Sexuality in South African Music.
Walton has contributed articles to the New Grove, Musik in Geschichte und Gegenwart, the Cambridge Wagner Encylopedia and other reference works. He is currently running a research project on Richard Wagner and the Austro-German conducting tradition at the Bern University of the Arts.