Department of Music
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Browsing Department of Music by browse.metadata.advisor "Froneman, Willemien"
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- ItemCopyriot: the political economy of digital music streaming(Stellenbosch : Stellenbosch University, 2023-03) Froehlich, Anke Hilde; Froneman, Willemien; Lambrechts, Lizabe; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music.ENGLISH ABSTRACT: This thesis, based on a discourse analysis of recent scholarship in the fields of popular music studies, international legal theory, and economic-political theory, analyses the political economy of online music streaming, focussing on Spotify’s playlist-oriented business approach. By tracing the shift in the digital music industry from ‘scarcity’ to ‘abundance’, I argue – following the work of Eric Drott (2019) – for a revised understanding of music’s commodification in the digital streaming era. The analysis proceeds along two lines. The first asks how, from a Marxist perspective, Spotify’s practices of rentiership, its positioning within the ‘gig’ economy and its relationship to the so-called ‘Big Three’ record companies may be situated within the circuit of capital, while the second, which draws on the work of Robin James (2021), Friedlind Riedel (2020) and William Mazzarella (2017), considers the affective dimensions of Spotify’s streaming business strategy – particularly its curation of ‘vibes’. Additionally, the thesis offers a historical overview of the hierarchical structure of music copyright law that continues to privilege record companies, showing how music copyright is rooted in Mussollini’s Fascist politics. The study concludes that Spotify harnesses what Martin Scherzinger (2016) has termed music’s ‘experiential liveness’ to produce ‘mana’ moments by engaging users in activity-oriented listening.
- ItemDie koortjie undercommons(2023-12) Engelbrecht, Inge Alvine; Froneman, Willemien; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music.AFRIKAANSE OPSOMMING: Die koortjie het nog altyd ’n peripheral space in die meer conventional kerkmusiek practices en discourses in die coloured kerk communities ge-occupy. Dit was hierdie marginality wat vir my problematic was en wat ek wou address. Die storie van die koortjie unfold gradually deur die tesis. Hierdie unfolding loop parallel met die narratives van die figure wat in die tesis feature, en hierdeur word issues soos history, cultural en spiritual identity op ’n unieke manier address. Consequently is die narrative van die koortjie interwoven into die tapestry van die lived experiences van hierdie belangrike figure, asook in my eie discoveries. Omdat ek ook ’n outsider of sorts is wanneer dit by die koortjie kom, ontdek die leser wat die koortjie is, wat dit entail en hoe dit function partly deur my oë asook deur die oë van die experts, en die meestal real-time documenting reinforce die notion van ’n gradual unfolding. Linguistically het die tesis vanaf die proposal stage deur ’n taal shift van Engels na Afrikaans gegaan wat eventually die boundary tussen die twee tale blur. Dus represent die tesis ’n bepaalde linguistic expression wat, nes die koortjie, nie net meer op die fringes van wat as standaard beskou word, exist nie. Moreover, is die Afrikaans wat in hierdie tesis gebruik word partly ’n reflection van die linguistic traits wat generally met coloured mense ge-associate word en is especially representative van die narratives van die “mense wat feature innie storie” (Arendse, 2021). Die structure van die tesis is deur die narratives van die respondente en my eie etnografiese beskrywings bepaal. Die eerste twee hoofstukke word ge-underscore deur die theme van die commons en undercommons (Harney & Moten, 2013) soos dit pertain tot die spaces wat die karakters involved in exist en daagliks in moet function en navigate, asook die rol wat die koortjie in hierdie spaces speel en in turn represent. In die derde hoofstuk word die development van die koortjie extend deur middel van die intergenerational connection tussen twee prominente figure in hierdie genre en in die Suid-Afrikaanse gospel industry. Die koortjie se evolution word deur die tension wat deur hierdie figure se onderskeie musical en spiritual timelines create word, gemap, tensions wat deur comparable tog contradicting sensibilities gehighlight word. Hoofstuk vier address en spotlight die issue van colouredness deur ’n quasi-conversation met die skrywer van ’n spesifieke bron waarin stereotypical commentary oor die supposed problematiese mindset en thinking van coloured mense bespreek word. Die issue van colouredness word verder op expand in hoofstuk vyf deur op die relationship tussen die koortjie en colouredness te fokus. Dit word gedoen deur die origin van die koortjie in terme van coloured kerkmusiek te bespreek, asook die notion van ownership en curatorship van die koortjie deur members van die coloured community. In hoofstuk ses word die koortjie as ’n code switching device geharness wat as die facilitator van hierdie switching tussen die physical en metaphysical inspect word. Hierdie idee van die koortjie as metaphysical code switching device word dan in hoofstuk sewe in meer detail ondersoek en word daar gekyk na hoe die act van trancing (Poloma, 2003; Becker, 2004) deur praktyke wat met die koortjie gepaardgaan, soos die koordans en ‘die trap’, teweeggebring word. Die tesis word conclude met ’n Epilogue wat die narrative van die koortjie proverbially full circle bring deur die koortjie terug na die space van die undercommons te bring. Hierdie deel serve ook as ’n voorbeeld van die possibilities nie net vir verdere navorsing in soortgelyke cultural musiek nie, maar ook vir die continued proliferation van knowledge oor die existence, practices en importance van die koortjie in Suid-Afrikaanse cultural en religious studies.
- ItemQueer electronic rave rapping Zulu princesses don’t grow on trees’: a digital ethnography of Toya Delazy’s curated persona as a South African popular musician on Instagram(Stellenbosch : Stellenbosch University, 2023-03) Friday, Lindsay; Rontsch, Marc; Froneman, Willemien; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music.ENGLISH ABSTRACT: The necessity for an online presence for the popular musician has, with the emergence of social media platforms in the 21st century, become unavoidable. Musical output has become bolstered by the musician’s persona, which is present not only on the performing stage, but also on social media platforms. This thesis uses persona studies as the theoretical lens through which to view South African popular musician, Toya Delazy, and discusses how she presents and curates her intersectional persona on the social media platform, Instagram. Toya Delazy (Latoya Buthulezi) was born in KwaZulu-Natal in 1990. After studying jazz piano performance at the University of KwaZulu-Natal, she entered the popular music industry, releasing the hit singles ‘Pump it On’ and ‘Love is in the Air’ in the early 2010s. Moving to the United Kingdom in 2015, Delazy has since developed her own musical style, ‘Afrorave’, and released two albums independently. She brands herself online as a “queer Zulu princess” and an “independent Zulu queer queen”, thus promoting a persona which has its foundation in her intersectional identity. The research conducted in this thesis utilises a performative understanding of social constructs such as ethnicity, race, gender, and sexuality. Identity is therefore performed through visual and textual components in online spaces, in combination with the artist’s musical output. Digital objects (captions, hashtags and emojis) were collected and analysed using a digital ethnographic approach alongside the images and videos posted by Delazy on her Instagram profile (@toyadelazy). Delazy’s music and accompanying lyrics have been critically analysed. Crucial to this thesis is the distinction of persona eras in accordance with the release of Delazy’s studio albums: Due Drop Deluxe (which pre-dated her Instagram profile), Ascension (2014- 2017), Uncommodified (2017-2019) and Afrorave (2019-2022). The finding of the research conducted was that an intersectional identity within Toya Delazy’s online curated persona is articulated through the use of digital objects, image-based content and her music.