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.
2014 Nagmusiek, Johannesburg: Fourthwall Books, ISBN 978-0-9922263-4-3.
2013 Eoan – Our Story, eds. Hilde Roos and Wayne Muller, Eoan History Project, Johannesburg: Fourthwall Books, ISBN 978-0-9870429-1-0.
2006 A Composer in Africa: Essays on the Life and Work of Stefans Grové, co-edited with Chris Walton, Stellenbosch: SUN Press, ISBN 1-920109-04-8.
2005 Gender and Sexuality in South African Music, co-edited with Chris Walton, Stellenbosch: SUN Press, ISBN 1-919980-40-7.
2012 ‘Betoog oor die epiese soektog na die beminde van die siel in die vernielde wingerd: ’n Begrafnispantomime vir jong Afrikaners in hul laat-dertigs, vroeë veertigs (na die voorbeeld van plaasteater in die styl van Gertruida Steyn)’, Jong Afrikaner, Fourthwall Books, Johannesburg ISBN 978-0-9869850-8-9.
2010 Orientalizing Europe, Europeanizing Africa: The Fantastical Lives and Tales of Jan Gysbert Hugo (The Marquis) (Louis de) (Vere) Bosman di Ravelli, also known as Gian Bonzar, in (Auto)biography as a Musicological Discourse, eds. T. Markovic & V. Mikic. Belgrade: Department of Musicology, Faculty of Music, 142-159, ISBN 978-86-6051-027-5.
2008 Die Stem, in: Van Volksmoeder tot Fokofpolisiekar, ed. Albert Grundlingh and Siegfried Huigen, SUN Press, 197-205.
2008 Boeremusiek, in: Van Volksmoeder tot Fokofpolisiekar, ed. Albert Grundlingh and Siegfried Huigen, SUN Press, 189-196.
2008 Arnold van Wyk’s Hands, in: Composing Apartheid, ed. Grant Olwage, Johannesburg: Wits University Press, 295-312.
2006 Imagining Afrikaners Musically: Reflections on the African Music of Stefans Grové, in: A Composer in Africa: Essays on the Life and Work of Stefans Grové, 17-28.
2006 Place, Identity and a Station Platform, in: A Composer in Africa: Essays on the Life and Work of Stefans Grové, 1-8.
2006 Stefans Grové’s Narratives of Lateness, in: A Composer in Africa: Essays on the Life and Work of Stefans Grové, 49-62.
2005 Imagining Afrikaners Musically: Reflections on the African Music of Stefans Grové, in: The World of South African Music: a Reader, selected, edited and introduced by Christine Lucia, London: Cambridge Scholar’s Press, 342-350.
2005 Queer Alliances, in: Gender, Sexuality and Music in South Africa, 35-48.
2016 Apartheid Aesthetics and Insignificant Art: The Songs of Stephanus le Roux Marais (1896-1979), The Journal of Musicology 33:1, 45-69.
2011 Miniature Blueprints, Spider Strategems: a Michael Blake retrospective at 60, The Musical Times 152, Winter 2011, 71-92.
2011 Twelve notes, twelve endnotes, Art South Africa 9:4, 40-44, ISSN 16846133.
2009 Response to Chris Walton ‘Secret Agent Man?’, Musicus 37:2, 5-6, ISSN 0256-8837.
2009 'n Blik op die resepsiegeskiedenis van Hendrik Hofmeyr se Sinfonia Africana, Musicus 37:1, 19-23, ISSN 0256-8837.
2008 Gedagtes oor die korrespondensie tussen Anton Hartman en Arnold van Wyk, 1949-1981, Musicus 36:2, 45-49, ISSN 0256-8837.
2008 Die Stem, De Gids, November-Desember, 976-989, ISSN 0016-9730, ISBN 978 90 50189354.
2008 Arnold van Wyk’s hard, stony, flinty path, or making things beautiful in apartheid South Africa, The Musical Times, Winter 2008, 61-78.
2008 Musiekgeskiedenis en fiksie: Hans Holleman en Arnold van Wyk in Holmer Johanssen se roman Gety, LitNet Akademies 5(1), Augustus 2008, ISSN 1995-5928.
2005 Music Criticism and Adorno, The International Review of the Aesthetics and Sociology of Music 36:1, June 2005, 101-116, ISSN 0351-5796.
2004 Response to David Hönigsberg ‘Chamber Symphony 1998’, Current Musicology 74, 2002, 259-263, ISSN 00113735.
2001-2002 Contemporary South African Interfaces with Aspects of Adornian Musical Thought, Ars Nova 33/34, 30-35.
2001 Spaces of Nationness: On Myth, Masks, Music and Afrikaner Identity, Tydskrif vir Nederlands en Afrikaans 8:1, 142-172, ISSN 1022-6966.
2001 Exploring the Aesthetics of Reconciliation: Rugby and the South African National Anthem, South African Journal of Musicology 21, 19-37, ISSN 0258-509x.
2001 Hubert du Plessis, South African Journal of Musicology 21, 60-62, ISSN 0258-509x.
2000 Postmortem of biopsie? Oor middelpuntvliedende kragte, skynmodulasies, reënboë en Suid-Afrikaanse musikologie, Tydskrif vir Geesteswetenskappe 40:3, 232-239.
2000 Imagining Afrikaners Musically: Reflections on the ‘African Music’ of Stefans Grové, Literator 21:3, 123-138, ISSN 0258-2279.
1999-2000 Protesting Relevance: John Joubert and the Politics of Music, South African Journal of Musicology 19/20, 33-46, ISSN 0258-509x.
Hilde Roos is the General Manager of Africa Open Institute for Music, Research and Innovation at Stellenbosch University. Her research concerns historical and contemporary representations of opera in South Africa with special reference to the intersection of the genre with politics and race. Her PhD dissertation focused on the indigenization of opera in South Africa. She has been a postdoctoral fellow at Stellenbosch University and UNISA and published in journals such as Acta Musicologica, Historia, Acta Academica, Litnet, the South African Theatre Journal and Muziki. In 2013 she co-edited the oral history book Eoan – Our Story and published her monograph The La Traviata Affair – Opera in the Age of Apartheid with University of California Press in 2018.
2018 The La Traviata Affair – Opera in the Age of Apartheid. Series: Music of the African Diaspora, volume 20. University of California Press, ISBN 978-0-5202998-9-4.
2013 Eoan – Our Story, an oral history of the Eoan Group (co-editor). Fourthwall Books, ISBN 978-0-9870429-1-0.
2016 ‘Briewe aan ’n diva: die verswyging van gay-identiteit in Gordon Jephtas se briewe aan May Abrahamse’, (Letters to a diva: the concealment of gay identity in the letters of Gordon Jephtas to May Abrahamse), Litnet Akademies Vol 13/1, pp. 31-55, ISSN 1995-5928.
2015 ‘Eoan – Our Story: Treading new methodological paths in music historiography’, Historia, Vol 60/2, pp. 185-200. ISSN 0018-229X.
2014 ‘Probing the boundaries of opera as notated practice in South Africa: the case of Eoan’, Muziki, Vol 11/2, pp. 79-88, ISSN 1812-5980.
2014 ‘Viva Verdi: Ringing the changes at Cape Town Opera’. Acta Musicologica, Vol 86/2, pp. 249-266, ISSN 0001-6241.
2013 ‘Remembering to forget the Eoan Group ¬– the legacy of an opera company from the apartheid era’, South African Theatre Journal, Vol 27/1, pp. 1-18, ISSN 2163-7660.
2012 ‘Indigenization and History: how opera in South Africa became South African opera’, Acta Academica, Supplement 2012/1, pp. 117-155, ISSN 0587-2405.
Inge Engelbrecht completed her master’s degree (cum laude) at Stellenbosch University in March 2017. Her master’s research focused on documenting the life and works of three composers who have strong ties to Genadendal, the first mission station in South Africa. Inge’s current PhD research is focused on the Afrikaans koortjie tradition in the coloured churches of the Western Cape, a tradition that is part of the cultural narrative of a community that is a largely unexplored field of research. Inge is currently part of the research team of the project called The Genadendal Music Collections Catalogue (GMCC) that aims to create a fully accessible online database of the music collections kept in the Moravian Mission Museum in Genadendal.
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).
“Memory on the Stage: Performativity in David Kramer and Taliep Petersen's Kat and the Kings”, LitNet Akademies, vol. 12, no. 3, pp. 75-112.
“Review Article: Musical Echoes – South African Women Thinking in Jazz”, South African Music Studies, vol. 33, no. 1, pp. 105-116.
“Wagnerian Embodiments in Etienne Leroux’s 18-44”, LitNet Akademies, vol. 10, no. 2, pp. 446-478.
Forthcoming “Afterword,” The Painted Rocks at Revolver Creek, accepted for publication by Theatre Communications Group, New York.
“The Cape Coon Carnival as Seen Through the Lens of an Outsider, or to Be More Precise, of a White Afrikaans Musicologist Who Used to Study the Markuspassion of Johann Sebastian Bach”, Society for Ethnomusicology Student News, vol. 12, no. 2, Fall/Winter 2016, pp. 31-37.
2018 “Taliep Petersen: An interview with Paul Hanmer”, South African Music Studies, vol. 36/37, 416-448.
2015 “Gys de Villiers: ‘'n Afrikaner Alien of Extraordinary Ability…’”, LitNet, 9 June.Download
2015 “Athol Fugard en Pieter-Dirk Uys Gesels met Paula Fourie”, LitNet, 7 May.Download
2012 “Ten Fingers to Count the Stars”, Art South Africa, issue 11.1, pp. 70-74.
2010/2011 “Sonic Spaces of the Karoo: The Sacred Music of a South African Coloured Community, Marie Jorritsma: Book Review”, South African Music Studies, vol. 30/31, pp. 187-190.
2010/2011 “The International Association for the Study of Popular Music 16th Biennial International Conference: Report”, South African music studies, vol. 30/31, pp. 195-198.
2015 “Prelude”, in A Fugard, The Shadow of the Hummingbird, Human & Rousseau, Cape Town, pp. 19-32.
2014 “Prelude”, in A Fugard, The Shadow of the Hummingbird, Theatre Communications Group, New York, pp. 5-18.
2013 “God se Rioolstelsel”, New Contrast, vol. 41, no. 3, South African Literary Journal, p. 36.
2013 “Jy Vra oor Jou Geboorte”, New Contrast, vol. 41, no. 3, South African Literary Journal, p. 37
2012 “Om Mani Padme Hum”, Carapace Poetry Journal, vol. 92, Snailpress, Cape Town, p. 15.
Anke Froehlich is a researcher on The Genadendal Music Collections Catalogue (GMCC) project. She works on the archived music collections at the Moravian Mission Museum in Genadendal. Anke is also a master’s fellow at Africa Open Institute under the supervision of Dr Lizabé Lambrechts. Her master’s research is concerned with the political economy of online music sharing and attempts to map its legal, systemic, and aesthetic implications for music production and distribution in South Africa.
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.
‘After Fame: A Micro-Ethnography of Popular Late Style’, Popular Music & Society. Published online first.Download
‘Ex-Centric Hermeneutics in Stephanus Muller’s Nagmusiek’, Royal Musical Association Research Chronicle. Published online.Download
‘Music and Landscape: Two Tales of Borehole Drilling in the Karoo’, Cultural Geographies, Vol. 22/4 (2015), 713-722.
‘Subjunctive Pleasure: The Odd Hour in the Boeremusiek Museum’, Popular Music, Vol. 33/1 (2014), 1-17.
‘Seks, ras en boeremusiek: agter die retoriek van gebrekkige sanglus by die 1938-Voortrekkereeufees’, LitNet Akademies, Vol. 11/2 (2014).
‘She Danced Alone: Jo Fourie, Songcatcher of the Groot Marico’, Ethnomusicology Forum, Vol. 21/1 (2012), 53-76.
The Riches of Embarrassment [On doing ethnography at home], Critical Arts, Vol. 25/2 (2011), 309-315.
”Composing According to Silence”: Undecidability in Derrida and Cage’s Roaratorio’, International Review of the Aesthetics and Sociology of Music, Vol. 41/2 (2010), 293-317.
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 on the Executive Committee 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.
Lambrechts, L. 2020. The becoming of an archive: Perspectives on a music archive and the limits of institutionality. Social Dynamics, Forthcoming.
Lambrechts, L., & Taylor, J. 2020. They called me the “Ag Pleez Deddy” man: On the be(longing) of Jeremy Taylor. SAMUS: South African Music Studies, Vol 39. Forthcoming.
Lambrechts, L. 2018. Letting the Tape Run: The creation and preservation of the Hidden Years Music Archive. South African Journal of Cultural History 32(2), 1-23
Lambrechts, L. & E. Van der Wal. 2018. Landscapes of Loss: Curatorial Mapping and the Use of Archival Sound Recordings. Forthcoming, SAMUS 37
Lambrechts, L. 2016. Performing the Aporias of the Archive: Towards a Future for South African Music Archives. Historia 61(1): 132-154.Download
Lambrechts, L. 2016. An Encounter with the archive: dealing with the challenges of representing a history. Conference proceedings from the 19th Annual History Seminar, ‘Ernesto Restrepo Tirado’, entitled “Ojos abiertos, oídos despiertos:” Patrimonio audiovisual como fuente de análisis histórico (Sound and image as historical sources), 15-17 October 2015, National Museum of Colombia, Bogota. ISSN 2422-4677.Download
Lambrechts, L. 2015. The house where history ended up: Packing up the Ben Segal Collection. Fontes Artis Musicae, Special Topics issue on Archives as Evidence 62(3): 166-182.Download
Lambrechts, L., & Vos, S. 2019. The Hidden Archives Vinyl Listening Sessions: Vol 1, featuring Robert Machiri and Atiyyah Khan. GUS Gallery, 3 April 2019. Two vinyl selectors were invited to make a selection from the Hidden Years Music Archive around the theme of the pan-African diaspora. The Hidden Archives Vinyl Listening Sessions Presented in collaboration with the Interdisciplinary Forum for Popular Music (IfPOP), Project Leader, Stephane Vos. "https://vimeo.com/356826518"
Lambrechts, L. & S. Vos. Record | Memory | Archive. International workshop, public talk and concert series, 5-7 September, Stellenbosch. "https://vimeo.com/257479828"Download
Lambrechts, L. 2016. Archive in Process: Unpacking the Hidden Years Music Archive. Performance Piece, 1-9 November 2016, Stellenbosch University.Download
Van der Wal, E. & L. Lambrechts. 2015-2016. As you are standing here. In collaboration with Allen Price (Ohio State University, Columbus), students and curators a mapping installation was created using recorded audio contributed through a mobile web application. It was exhibited as part of the Stellenbosch 360 outdoor art installations (July 2016-January 2017).
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.
Esther Marié Pauw is an artistic researcher with Africa Open Institute for Music, Research and Innovation (AOI) at Stellenbosch University (South Africa), where she coordinates the AOI Sonic Residencies programme. She is a recipient of a 2020 Stellenbosch University postdoctoral award for excellence in research.
Her PhD in artistic research (2015) examined perspectives on interventionist curating in classical flute music concert practice, using geo-political aspects of landscape as lens for curations. Her subsequent work engaged mapping practices and site-specific aspects of music-making as interventionist curating amidst publics, institutions, art, history and music-making. She has published articles in Ellipses (online journal), Herri #1 (online journal), Herri #4, Acta Academica, LitNet Akademies, Journal of the Musical Arts in Africa, South African Music Studies, NewMusicSA Bulletin, Perspectives of New Music (forthcoming) and Oxford Artistic Research (forthcoming). During 2020 she was a visiting scholar and artist in residence at Stellenbosch Institute for Advanced Studies (STIAS), as part of the Xnau-Xnau duo research project with sonic and visual Khoi artivist Garth Erasmus. Their music, as a seminar presentation to cohorts, can be heard on https://youtu.be/FjLbppR19Kc.
Since 2015 her improvisatory work with Garth Erasmus has explored openings into decolonial aestheSis. The documentary films Kreun, (Aryan Kaganof, 2016), Khoisan ghost kreun (Kaganof, 2016), Nege fragmente uit ses Khoi’npsalms (Kaganof, 2018), Suiwer in Blauw (Kaganof, 2018), Sewe, Joubert Straat (Kaganof, 2019) and Invocation (Kaganof, 2020) and Smeekbede (Kaganof, 2020) comment critically and respond artistically to her and Garth’s music-making. Through collaborating in improvisatory sonic events, the duo explores aspects of socio-politics, music, and technology amidst contingent contexts. Audio pieces of their sonic collaboration can be heard on Greg de Cuir Jr’s online exhibition for Media City Film Festival (Detroit-Windsor), www.mediacityfilmfestival.com/dark-dark-gallery/ and, playing with a wider circle of colleagues, on Africa Open Improvising, www.soundcloud.com/user-610733588.
Esther Marié maintains a private flute coaching studio in Stellenbosch. She curates the Éva Tamássy Flute Collection of music, arguably the largest privately compiled flute score collection in Africa, and she curates the Tamássy Flute Hour of flute and chamber music playing. She has commissioned and premièred many South African flute compositions and sound installations, and performed on national festivals. With musicians Ilse Speck, and Barbara Highton Williams, she has presented recitals in Ulm, Germany, and Princeton, USA, and with local musicians she has played extensively, as well as acted as co-founder of several chamber music ensembles over the past three decades. Several compact disc compilations of solo, duo and chamber music have been recorded by her. Current flute projects soon to be released include Under my fingers: Busking album, as well as Infecting Blavet / Affecting Varèse (forthcoming 2021).
Pauw, EM (Marietjie). 2015. The Flute becomes a gun: A Flutist’s perspectives on Aryan Kaganof’s film Night is coming: A Threnody for the victims of Marikana. South African Music Studies (SAMUS) 34/35:408–25. [Online] Available article: https://journals.co.za/content/journal/10520/EJC-551bc0690Download
Pauw, EM (Marietjie). 2017. Musicking Poulenc’s ruins in Stellenbosch. Acta Academica 49(2):68–94. [Online] Available: https://journals.ufs.ac.za/index.php/aa/article/view/3352Download
Pauw, EM (Marietjie). 2017. An African Festivity for flute: Sensing diversity, creolisation and knowledge through sound. Journal of the Musical Arts in Africa (JMAA) 14(1-2):69–86 [Online] Available: https://www.tandfonline.com/doi/abs/10.2989/18121004.2017.1321233Download
Pauw, EM (Marietjie). 2017. Reverberations of Poerpasledam for flute and piano by Arnold van Wyk. LitNet Akademies [Online] Available: https://www.litnet.co.za/reverberations-poerpasledam-flute-piano-arnold-van-wyk/ and https://www.litnet.co.za/naklanke-van-arnold-van-wyk-se-poerpasledam-vir-fluit-en-klavier/Download
Pauw, EM (Marietjie). 2019. Life writing 7 Joubert Street: A Memorialisation. [Online] Available, HERRI, Issue #1, https://herri.org.za/1/marietjie-pauw
Pauw, E.M. (Marietjie). 2019. Mapping music and musicking. Paper published in conference proceedings, SASRIM Conference, Potchefstroom, South Africa. 2017.Download
Pauw, EM (Marietjie). 2019. "Die Land"-musiekvideo: Mites en nostalgie. [Online] Available: LitNet Akademies, https://www.litnet.co.za/litnet-akademies-weerdink-die-die-land-musiekvideo-mites-en-nostalgie/
Pauw, EM, F Blom, G Erasmus and A Hayes. 2020. Improvising Khoi’npsalms. [Online] Available: Ellipses, http://www.ellipses.org.za/project/khoinpsalms/
Pauw, EM, F Blom and G Erasmus. 2020. Improvising Khoi’npsalms (article, visual re-publish). [Online] Available: HERRI, Issue #4, https://herri.org.za/4/marietjie-pauw-garth-erasmus-francois-blom/
Pauw, EM (Marietjie). n.d. (forthcoming) The strain of the voice in Michael Blake’s Umngqokolo (article, forthcoming). Perspectives of New Music
Pauw, EM, F Blom, G Erasmus. n.d. (forthcoming) What do we learn from listening back to Khoi’npsalms? [Online] Available: Oxford Platform for Artistic Research (OAR), Issue 4.
Pauw, EM (Marietjie). n.d. sumthing’n return – jeney’s fungi to cage, Article submitted to Musurgia, Quarterly journal for music analysis & music theory.
Africa Open Institute
Marc holds a PhD in Musicology from Stellenbosch University, and is the recipient of the prestigious Vice-Chancellor’s Postdoctoral Research Fellowship at Nelson Mandela University. Marc was formerly an Andrew W. Mellon Postdoctoral Fellow, and is currently a research affiliate at Africa Open.
Marc’s research focuses on 21st Century popular music of South Africa, with a particular focus of underground rock/punk/funk bands from Cape Town. His research aims to position this music within discourses around identity construction within post-apartheid South Africa, as well as global populist narratives and questions around digital music archives.
As a performing guitarist and bassist, Marc performs and records regularly with alternative grunge band Black Moscow, as well as the gypsy-jazz trio The Hot Club of Cape Town.
Africa Open Institute
Röntsch, M. 2019 ‘“I Might Seem Out of Place Here”: Exploring Whiteness and Belonging in Hog Hoggidy Hog’s Oink!.’, SAMus Volume 39, pp. 23-43.
Röntsch, M. 2020. ‘”No Use Calling Yourself South African. South African is Nothing”: Understanding and Exploring the Concept of Place and Nationhood in the Life and Music of Christopher James.’ Transnational Perspectives on Artists’ Lives. Rensen, M & Wiley, C (eds.).Palgrave MacMillan, pp. 77-89.
Röntsch, M. ‘Making and Remaking Coloured Identity in the Music of Stereo Zen’. Webinar, 25 November 2020: https://www.youtube.com/watch?v=8KKYw0s2n7k
Röntsch, M (Forthcoming) ‘Disruption: Gender, Jazz and the Lady Day Big Band’, SAMus, Vol. 40. Awaiting publication in 2021
Röntsch, M (Forthcoming) ‘“The Echo Chambers of Cyberspace”: The Meaning and Consequences of Reconsidering the Michael Moerane Digital Scholarly Edition as an Archive’, Journal of Musical Arts in Africa. Awaiting publication in 2021