Masters Degrees (Music)
Permanent URI for this collection
Browse
Browsing Masters Degrees (Music) by Subject "Apartheid -- South Africa -- History"
Now showing 1 - 1 of 1
Results Per Page
Sort Options
- ItemRemembering the past: apartheid and the careers of six coloured performing musicians in the field of western art music(Stellenbosch : Stellenbosch University, 2023-03) Tremble, Caron Lisa; Ludemann, Winfried; Stellenbosch University. Faculty of Arts & Social Sciences. Dept. of Music.ENGLISH ABSTRACT: In recent years (especially after the end of apartheid) there has been a resurgence of interest in the history of Coloured people and most recently, Coloured opera musicians. However, the history of Coloured performing musicians has been under-researched. These musicians were allowed very limited access to participate only in institutionalised Western classical music due to harsh apartheid legislation. Many excelled in their chosen field, and as a result of not being able to follow their desired career path in South Africa owing to apartheid, they worked very hard with the hope of leaving South Africa. In some instances, these musicians were the first to break racial barriers in the South African music scene. Many of them now enjoy successful careers nationally and some. internationally. This research does not cover all musicians of colour (inclusive of Black) that studied during the apartheid era but is limited to a selection of Coloured musicians who had their formative years during this time. The selected musicians are the late Sidwill Hartman, John Theodore, Michele Williams, Leon Bosch, Franklin Larey and the late George Stevens. I augmented the rather limited amount of information on these musicians available in the public domain with information gathered through extensive interviews, either with the musicians themselves, or, in the cases where they had already passed away, with close family members and friends. The nature of the interviews determines the format of the thesis: in order to preserve the authenticity of the respondents’ voices their stories are presented verbatim. These are framed by three conventional introductory chapters and a conclusion.