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dc.contributor.advisorBallantine, Christopher John.
dc.creatorDlamini, Sazi Stephen.
dc.date.accessioned2010-08-23T05:35:07Z
dc.date.available2010-08-23T05:35:07Z
dc.date.created2010
dc.date.issued2010
dc.identifier.urihttp://hdl.handle.net/10413/480
dc.descriptionThesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.en_US
dc.description.abstractDuring the middle decades of the twentieth century, the exiling from South Africa of jazz musicians, including The Blue Notes, brought the discourses of local jazz, its performance culture and repertoires, to international attention. This process points to jazz’s global reach and raises questions about its adoption by differently constituted cultural subjects. Arjun Appadurai’s arguments about global homogenisation and heterogenisation come into play here, and have special significance today, when the study of jazz performance and history is increasingly part of the music education of young South Africans. Questions about who ‘owns’ jazz and what constitutes its authenticity loom large, as do questions about its global entanglement. The careers of The Blue Notes emerge from a background of South African syncretic musical performance; as such, they belong within the protracted history of African cultural engagement with European and American mediations of modernity. Among other issues, my thesis examines the use of jazz-influenced repertoires in the narration of cultural identities in postcolonial South Africa, under apartheid, and in exile.en_US
dc.language.isoenen_US
dc.subjectJazz musicians--South Africa.en_US
dc.subjectJazz--South Africa--History and criticism.en_US
dc.subjectMusic--Political aspects--South Africa.en_US
dc.subjectBlue Notes (Musical group)en_US
dc.subjectTheses--Music.
dc.titleThe South African Blue Notes : bebop, mbaqanga, apartheid and the exiling of a musical imagination.en_US
dc.typeThesisen_US


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