Stephanus Muller holds masters degrees in musicology from the University of South Africa and Oxford University. In 2001 he was awarded a DPhil from Oxford University before returning to South Africa in the same year. Elected as the chairperson of the Musicological Society of Southern Africa in 2004, he was instrumental in merging this society with the Ethnomusicology Symposium in 2006. After his appointment as lecturer at Stellenbosch University in 2005, he created the Documentation Centre for Music (DOMUS) as a research and music heritage conservation initiative. Since then, DOMUS has acquired some of the most important and valuable archives of individuals and institutions pertaining to South African music, making it a unique repository of recorded music, scores and archival documents on the African continent. Since his appointment at Stellenbosch University, Muller has supervised groundbreaking studies by a new generation of South African music scholars, many of whom have gone on to study at prestigious universities abroad or occupy teaching positions at South African universities. He is currently Professor of Musicology at Stellenbosch University and Director of Africa Open – Institute for Music, Research and Innovation, an ambitious institutional project that responds to the challenges and opportunities of music studies in South Africa. He is also the Principal Investigator of the Andrew W. Mellon Delinking Encounters Project and the South African holder of the British Academy Newton Advanced Fellowship for the project South African Jazz Cultures and the Archive. In these capacities he manages, funds and supervises a range of important research initiatives. In 2015 he was awarded the prestigious Fowler-Hamilton Visiting Research Fellowship at Christ Church, University of Oxford. Muller has published widely locally and internationally and received Stellenbosch University’s Chancellor’s Award for Research in 2015. His most recent book, Nagmusiek, was awarded the Eugène Marais Prize by the Suid-Afrikaanse Akademie vir Wetenskap en Kuns, the Jan Rabie Rapport Prize, the kykNET-Rapport Prize and the University of Johannesburg Debut Prize for Creative Writing in Afrikaans.

Hilde Roos is the General Manager of Africa Open Institute for Music, Research and Innovation at Stellenbosch University. Her research interests concern the archive, historical representations of the practice of Western art music and the concomitant (colonial) mutations thereof in South Africa.

Paula Fourie is a writer living in Stellenbosch, South Africa. She currently works as research fellow at Africa Open: Institute for Music, Research and Innovation at Stellenbosch University where she is completing a monograph based on her doctoral research, a biography of South African musician and musical theatre composer Taliep Petersen. Using biography as a means to explore the reciprocal relationship between an artist’s life and work, Paula’s work is specifically concerned with the creation of life stories through the performance of memory, on the one hand, and the curation of the self in personal archives, on the other. It is perhaps unsurprising that these convergent interests have led to a commitment to explore the boundaries between historical writing and fiction.

Paula is also active in professional theatre, having worked alongside her husband, South African playwright Athol Fugard, since 2012. Production credits include Master Harold … and the boys (Signature Theatre, New York, 2016, associate director), The Painted Rocks at Revolver Creek (Fugard Theatre, Cape Town, 2016, co-director), and The Shadow of the Hummingbird (Fugard Theatre, Cape Town, 2014, co-director). Recently her practical work in theatre has met with her work as a researcher, resulting in a secondary research project concerned with exploring the role of music in the Fugard’s oeuvre.

Paula holds BMus and MMus degrees from the University of Pretoria. While working towards the latter during 2009 and 2010, she was employed at the Drakensberg Boys Choir School in Kwazulu-Natal as choral conductor, arts and culture teacher and head of the New Boys Training Programme. Since receiving her PhD from Stellenbosch University in 2013, she has travelled abroad extensively, whether serving her involvement in theatre, or to present her academic research at conferences in Europe, the USA or South America. Paula’s published work includes academic journal articles, essays, book reviews, interviews, plays, poetry, and photo-essays. Her work on Taliep Petersen’s biography has been supported by an African Humanities Program Postdoctoral Fellowship hosted by the American Council of Learned Societies (2015) and a grant from the Academic and Non-Fiction Author’s Association of South Africa (2016).

Willemien Froneman is an extraordinary associate professor at AOI. She writes about white musical aesthetics in South Africa, mainly through the lens of boeremusiek—a marginal and much-stigmatized genre of South African folk music. She coedits the journal SAMUS: South African Music Studies.

Dr Lizabé Lambrechts
Volkswagen Stiftung Research Fellow and Project Leader of the Hidden Years music archive (Hidden Years).
Lizabé Lambrechts is a Volkswagen Stiftung Research Fellow, partnered between Africa Open, Institute for Music, Research and Innovation (Stellenbosch University), the School for Oriental and African Studies (University of London), and the British Library and Archive. She completed her PhD in 2012 on five South African music archives as sites where embedded notions of power and politics become visible. After being appointed as the project leader of the Hidden Years music archive project she obtained training as an audio-visual archivist at ICCROM, an affiliate of UNESCO. She serves as the Vice Chair of the South African Society for Research in Music (SASRIM).
Her Ph.D. research was focused on investigating five music archives in South Africa as sites where embedded notions of power and politics become visible. This work was an attempt to situate music archives within the recent critical discourse on archives and processes of archive making, a discourse wherein the music archive was mostly absent. Employing self-reflexive ethnographic methodologies combined with a rigorous theoretical framework, allowed for a wide range of theoretical explorations about notions of politics, community, crises, storytelling, apparatus of capture, loss and being lost in the archive. In addition, this work incorporated a critical interrogation of archival methodologies such as the creation of inventories, catalogues, classifications, chronologies, descriptions, numbering systems and finding aids to explore the mechanisms of the archive that serve to institute and maintain power. This study revealed that archival processes, individuals, institutional spaces and contexts, function within an intricate web that is continually working towards creating the archive.
During her post-doctoral work, she has published and worked with a variety of media and contexts in order to explore notions of archive, its impact on the present and our understanding of the constructions of history. Some of these projects include the collaborative exhibition project “Lingering absences: Hearing landscape through memory” (2013), a collaborative sound installation “As you are standing here” (2016), and a performance piece, “Archive in Process” (2016), wherein the daily life and routine of an archivist was performed in front of a window where passers-by could view and interact with the various processes that determine archival collections.
Through pursuing interdisciplinary work spanning music and culture studies, history, curatorship and archival science, her work locates its civic responsibility both in terms of the past and the present. Whereas her work is historically concerned with re-inscribing marginalized voices into the historical record, it is also aware that institutional and personal archives harbor the potential to reinvent and to look at things anew.

Born in London, Christine Lucia immigrated to South Africa in 1974 and from the late 1970s to early 1990s taught music at Diocesan School for Girls, Rhodes University, Natal University, and the University of Durban-Westville (UDW). She was active as a concert pianist throughout this period, an SABC recording artist, and concerto soloist with the Kwa-Zulu Natal Philharmonic Orchestra. She was Head of Music at UDW 1989-95, Rhodes 1997-2002 and Wits 2002-3, managing change in degree programmes and curricula. Aside from academic publications, she has published four short stories and is a member of the London Writers’ Café. Christine Lucia received an NRF grant in 2006-7 for a ‘Theorizing the Global South’ project at Wits, was Overseas Visiting Scholar at St. John’s College Cambridge in 2001-2002, and academic resident at the Bellagio Rockefeller Center in April 2009. In 2004-2008, Lucia edited the journal SAMUS: South African Music Studies (formerly the South African Journal of Musicology: SAMUS). She was Extraordinary Professor in the Music Dept. at Stellenbosch University from 2009 to 2014, and has been Honorary Professor at Africa Open Institute since 2016. She has published two books: The World of South African Music: A Reader (2005) and Music Notation: A South African Guide (2011) as well as numerous articles and book chapters. She established the website www.african-composers-edition.co.za in 2012 for the publication of South African music, which now houses the Joshua Pulumo Mohapeloa Critical Edition in Six Volumes, revised 2016 for CD-ROM (published 2018), and the Surendran Reddy Performing Edition, still in progress. She also produced the CD African Choral Heritage: Recordings of Joshua Pulumo Mohapeloa in 2013. Christine Lucia won a National Institute for the Humanities and Social Sciences award in 2018 for ‘Best Digital Humanities Project for Community Engagement’. Over the past twenty years she has mentored, supervised, or examined many postgraduate students in South Africa and abroad and still acts as a reviewer for national and international journals and publishers.

Pakama Ncume works as a Sound Archivist at Africa Open Institute for Music, Research and Innovation, Stellenbosch University.

After completing her B.A (Music Education) degree at the then University of Transkei, she enrolled for Postgraduate Diploma in Library and Information Science (PGDIPLIS) at the University of Cape Town. On completion of the diploma, she moved back to the Eastern Cape. Because the area had few libraries, jobs in this field were scarce. With the advantage of having two professions (educator and librarian), she then took a teaching post at Nozuko Senior Secondary School in Mthatha. It was during her time as an educator that Pakama decided to further her studies and enrolled with the University of Transkei for an honours degree in Library and Information Science, a degree she completed in 2004.

She later joined an NGO, Room to Read South Africa in Pretoria as a Programme Manager for the Reading Room Programme. Her main responsibility was facilitating implementation of school libraries and conducting teacher trainings on library management in various regions of Mpumalanga and Eastern Cape. Because the schools had no librarians, teachers had to be librarians too. With all the teaching responsibilities, it was not easy for them to also read all the librarianship books available. It was because of this gap that Pakama started to write simplified step by step guides and manuals for school teacher librarians on library management, library activities and library sustainability for two NGO’s (Room to Read and African Solutions to African Problems)

Having gained experience in community developmnet work, Pakama joined a social facilitation company Masimanyane Community Developers as a Social Facilitator. In 2013, Pakama started working at Walter Sisulu University where she was appointed as a Music Librarian and Sound Archivist. Pakama was responsible for starting and setting up the sound archive that comprised mainly of LP’s that the university had received as a donation from SABC (sound recordings that were used on air by former Radio Transkei and Capital Radio). She was also responsible for digitizing the sound recordings. In 2017, she joined AOI also for the same role of a Sound Archivist, mainly responsible for digitizing a wide collection of sound records including reel to reel tapes, LP’s, tape cassettes etc.

Marietjie Pauw is an Andrew W. Mellon-funded postdoctoral researcher with Africa Open – Institute for Music, Research and Innovation at Stellenbosch University. Her research focuses on aspects of curating music in local contexts and on exploring alternative publishing formats. Her current music curations are inspired by the investigation of interventionist approaches that contemporary curating, artistic research and decolonial aestheSis bring when brought into orbit with classical (and broader than classical) sound installations.

Marietjie completed the degrees BMus, BMus(Hons) and MMus at Stellenbosch University, and received the Unisa Teaching Licentiate in Music and the Unisa Performance Licentiate in Music (with flute as instrument) from the University of South Africa in 1991. Her PhD research in artistic research culminated in a dissertation entitled ‘Curating South African flute compositions: Landscape as theme of exhibition’ in 2015 (Stellenbosch University). She has published articles in Acta Academica, LitNet Akademies, Journal of the Musical Arts in Africa, South African Music Studies and in NewMusicSA Bulletin and she has presented papers and performances at national and international conferences. As flutist she has played with chamber musicians, poets and artists that have premièred South African compositions, and performed on national festivals such as the National Arts Festival (Grahamstown, 2006), the Klein Karoo Nasionale Kunstefees (Oudtshoorn, 2007), Klein Karoo Klassique (Oudtshoorn, 2012) and the Woordfees (Stellenbosch 2005, 2006, 2010, 2014, 2016, 2018). She recorded solos on the Afrimusik label and the southernbuzz label, the latter in 2012 as a flute duo CD with Barbara Highton Williams, entitled Fofa le nna. The short films Kreun (Aryan Kaganof, 2016) and Khoisan ghost kreun (Aryan Kaganof, 2016) portray Marietjie and Garth Erasmus in their music intervention in response to the history of forced removals from Roesdorp in Stellenbosch. Marietjie and Garth, with Francois Blom, presented Khoi’npsalms as investigative, curated music production, and the artistic response in the format of film that resulted from this production is entitled Nege fragmente uit ses khoi’npsalms (Aryan Kaganof, 2018). Marietjie Pauw teaches flute at the Johnman Music Centre in Stellenbosch.

Santie de Jongh is the Special Collections Librarian at the Music Library and is responsible for the day to day running of the Music Special Collections, which include DOMUS. Her duties include the archival processing (ordering and conservation) of materials and postgraduate research support. She is actively involved in facilitating research on DOMUS collections, which includes advising music researchers on archival processing and preservation. Based on her archival work, her MMus degree (Stellenbosch University 2008) entailed the design and construction of a comprehensive national directory of music archives and special collections, which included visits to a number of archival repositories in South Africa. She is the South African Corresponding Editor for Fontes Artis Musicae and Chair of the continental steering committee of RILM.

Marc holds a PhD in Musicology from Stellenbosch University, and currently works as an Andrew W. Mellon Post-Doctoral Research Fellow at Africa Open: Institute for Music, Research and Innovation.

Marc currently is working on two research projects. He is part of the Michael Moerane Critical Edition research team run by Prof Christine Lucia. Marc’s involvement in this project is to create a critical edition of Moerane’s orchestral work Fatse le Heso (‘My Country’) as well as to engage with debates and positions within the field of the Digital Humanities and Digital Scholarly Editions.

Marc is also working on converting his doctoral dissertation into a book. This research focuses on the life of Zimbabwean-born composer Christopher Langford James, whose archive is held in DOMUS. This project extends from his doctoral research, and engages with a dialogical relationship between life history and musical output, and is located and positioned within archival theory at Africa Open: Institute for Music, Research and Innovation. He performs and records with Cape Town Progressive Grunge band Black Moscow, and has appeared as a soloist with The University of Stellenbosch Symphony Orchestra, premiering Hans Roosenschoon’s “…or to err…” in 2013. As of 2017, Marc is also the bassist for the Stellenbosch University Jazz Band. Marc’s other interests include tea, reading and Doctor Who. He is also happily engaged to saxophonist and arranger Claire de Kock.

Stephanie is the project leader of the Interdisciplinary Forum for Popular Music (ifPOP) at Africa Open. She comes to this project from a research perspective that crosses disciplinary boundaries (exile and displacement), and a music practice (South African jazz) that exceeds narrow understandings of genre, and which exists in tension with notions of “the popular”. Stephanie’s doctoral research, undertaken at Royal Holloway, University of London, was an inquiry into discourses of South African exile in the 1960s through the lens of jazz. Abdullah Ibrahim’s music of the 1960s was a focal point in this research project.

Stephanie has taught at Unisa, and tutored at Stellenbosch University and Royal Holloway. She has presented her research at various conferences in the USA, UK, Europe and South Africa, and is currently the Secretary of the South African Society for Research in Music. Stephanie regularly experiments with the interface between the academic and public spheres. To this effect, she has curated film screenings in the UK, and organised two symposia on Music and Exile in partnership with Goethe Institute (Johannesburg).

ifPOP is the realization of an interdisciplinary research and artistic platform upon which Stephanie would like to see her (future) work.