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Documentation Centre for Music (DOMUS): Research based on DOMUS collections

Research based on DOMUS collections


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Please help us to add your research output based on DOMUS collections by e-mailing the relevant bibliographic information of your research to santiedj@sun.ac.za.

Research based on DOMUS collections: Theses and dissertations

2006

  • Wium, Magtild J. 2006. Die laat klavierwerke van Arnold van Wyk. Masters thesis. Stellenbosch: Stellenbosch University.

2007

  • Claassen, Hanrich. 2007. 'n Orkestrasie van Arnold van Wyk se Nagmusiek. Masters thesis. Stellenbosch: Stellenbosch University.

  • Kleynhans, Cara. 2007. Steven de Groote (1953-1989): Die loopbaan van 'n Suid-Afrikaanse konsertpianis. Masters thesis. Stellenbosch: Stellenbosch University.

2008

  • Johnson, Elzahn. 2008. Die bydraes van vroue aan die Konservatorium 1905-2005, Universiteit van Stellenbosch. BMusHons. Stellenbosch: Stellenbosch University.

2009

  • Botha, Yolanda. 2009. Ontstaansgeskiedenis van Die Oranjeklub, met spesiale verwysing na die bevordering van die Suid-Afrikaanse toonkuns. Masters thesis. Stellenbosch: Stellenbosch University.

  • De Jongh, MS. 2009. A national electronic database of special music collections in South Africa. Masters thesis. Stellenbosch: Stellenbosch University. [See also Directory of South African music collections].

  • Pinto Ribeiro, Bruno Alfredo. 2009. Exploring authenticity in performance: A comparative performance analysis of Arnold van Wyk’s Night Music for piano. Masters thesis. Stellenbosch: Stellenbosch University.

  • Venter, Carina. 2009. The Influence of early apartheid intellectualisation on twentieth-century Afrikaans music historiography. Masters thesis. Stellenbosch: Stellenbosch University.

  • Vos, Stephanie. 2009. Exploring displacement as a theoretical paradigm for understanding John Joubert's opera 'Silas Marner'. Masters thesis. Stellenbosch: Stellenbosch University.

2010

  • Roos, H. 2010. Opera production in the Western Cape: Strategies in search of indigenization. Doctoral dissertation. Stellenbosch: Stellenbosch University. [Includes chapter on the Eoan Group. See https://libguides.sun.ac.za/domus/projects for the Eoan project].

  • Stimie, Annemie. 2010. Cosmopolitanism in early Afrikaans music historiography, 1910-1948. Masters thesis. Stellenbosch: Stellenbosch University. [Jewish Music archive].

2012

  • Froneman, Willemien. 2012. Pleasure beyond the call of duty: Perspectives, retrospectives and speculations on boeremusiek. Doctoral dissertation. Stellenbosch: Stellenbosch University.

  • Lambrechts, L. 2012. Ethnography and the archive: Power and politics in five South African music archives. Doctoral dissertation. Stellenbosch: Stellenbosch University.

  • Stolp, Mareli. 2012. Contemporary performance practice of art music in South Africa: A practice-based research enquiry . Doctoral dissertation. Stellenbosch: Stellenbosch University. [Konservatorium collection programmes].

2013

  • Schonken, Philip Antoni. 2013. Authorship and ownership of UShaka KaSenzangakhona. Masters thesis. Stellenbosch: Stellenbosch University.

  • Thom Wium, Magtild Johanna. 2013. Contextual readings of analysis and compositional process in selected works by Arnold van Wyk (1916-1983). Doctoral dissertation. Stellenbosch: Stellenbosch University.

  • Van Rhyn, Chris. 2013. Towards a mapping of the marginal: Readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers. Doctoral dissertation. Stellenbosch: Stellenbosch University.

2014

  • Oosthuizen, Magdalena Johanna. 2014. Arnold van Wyk as liedkomponis: ’n Ontsluiting van die liedere in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Doctoral dissertation. Stellenbosch: Stellenbosch University.

2015

  • Brouckaert, Rebecca. 2015. A history of the Endler Hall as cultural space. Masters thesis. Stellenbosch: Stellenbosch University.

2016

  • Schoeman, Ben. 2016. The piano works of Stefans Grové (1922-2014): A study of stylistic influences, technical elements and canon formation in South African art music. City, University of London School of Arts and Social Sciences, Department of Music Guildhall School of Music and Drama.
  • Van der Merwe, Carla. 2016. Surendran Reddy, Master of Clazz. Masters thesis. Stellenbosch: Stellenbosch University.

2017

  • Bredell, Alesha. 2017. Visual enquiries and idiosyncratic selections: A close reading of dust.Masters thesis. Stellenbosch: Stellenbosch University. [HYMAP: Ben Segal collection]
  • Engelbrecht, Inge Alvine. 2017. Die komponiste van Genadendal. Masters thesis. Stellenbosch: Stellenbosch University.
  • Lesch, Odile Marissa. 2017. The Cape Town Philharmonic Orchestra's Youth Development & Education Programme and its contribution to transformation and diversity within the CPO. Masters thesis. Stellenbosch: Stellenbosch University.
  • Röntsch, Marc. 2017. An anthology of existence: Explorations into the life and music of Christopher Langford James (1952-2008). Unpublished Doctoral thesis. [Embargo]
  • Stofberg, Louna. 2017. Albert Troskie: Bydraes tot kerkmusiek in Suid-Afrika. Masters thesis. Stellenbosch: Stellenbosch University. [SAKOV collection]

2018

  • Kirsten, Beatrix Mari. 2018. Reading the paratext: Leib Kirschner's cantorial anthology of 1910. Masters thesis. Stellenbosch: Stellenbosch University. [Fay Singer South African Jewish Music Centre collection]
  • Stofberg, Rolene. 2018. Anton Goosen se bydrae tot die Afrikaanse luisterliedjie. Masters thesis. Stellenbosch: Stellenbosch University.
  • Van Tonder, Ernst D. 2018. A case study of orchestration techniques in Primavera by Arnold van Wyk. Masters thesis. Stellenbosch: Stellenbosch University.

2019

  • Behr, Annemie. 2019. Constructing history from music reportage: Jewish musical life in South Africa, 1930-1948. Doctoral dissertation. Pretoria: Unisa. [SUNDigital: South African Jewish music articles]

  • Pistorius, Juliana M. Authenticity as resistance: Apartheid and Eoan’s La Traviata. Doctoral Dissertation, University of Oxford. In progress.

2020

  • Waggie, Ashrudeen. 2020. ‘It’s just a matter of time’: African American Musicians and the Cultural Boycott in South Africa, 1968-1983. Unpublished Master’s thesis. Stellenbosch: Stellenbosch University. [Hidden Years Music Archive collection] .

Note: For Online versions of Stellenbosch University music theses and dissertations, please see SUNScholar: Department of Music.

Research based on DOMUS collections: Articles

2007

  • Blake, Michael. 2007. South African composers on the world stage: The ISCM in South Africa . Fontes Artis Musicae, 54(3):359-373, September.

  • De Jongh, Santie. 2007. From St Petersburg to the Cape: Three autobiographical texts by Albert Coates. Fontes Artis Musicae, 54(3):320-330, September.

  • Ross, Barry. 2007. Maestro and Commander: The Michael Scott collection at the University of Stellenbosch. Fontes Artis Musicae, 54(3):331-358, September.

2008

  • Grové, Izak. 2008. Lewe-ín-werk: Outobiografiek in Arnold van Wyk se musiek. Tydskrif vir Geesteswetenskappe, 48(1), Maart:1-12.

  • Muller, Stephanus. 2008. ‘Arnold van Wyk’s hard, stony, flinty path, or making things beautiful in apartheid South Africa’. The Musical Times, Winter:61-78.

  • Muller, Stephanus. 2008. Musiekgeskiedenis en fiksie: Hans Holleman en Arnold van Wyk in Holmer Johanssen se roman 'Gety'. LitNet Akademies, 5(1), Augustus.

  • Thom-Wium, Matildie. 2008. Arnold van Wyk se 'Ricordanza' as musikale aandenking. LitNet Akademies, 5(2), Oktober.

2009

2010

  • Thom Wium, Matildie. 2010. “My country, my dry forsaken country”: On exile in Arnold van Wyk’s, N.P. van Wyk Louw’s and Ovid’s 'Tristia’, Musicus, 38(1):25-35.

2011

  • Froneman, Willemien. 2011. The Riches of Embarrassment. Critical Arts, 25(2):309-315.

  • Muller, Stephanus. 2011. Miniature blueprints, spider stratagems: A Michael Blake retrospective at 60. The Musical Times, 152(191):1-22, Winter.

  • Thom-Wium, Matildie. 2010-2011. An intertextual reading of the ‘Elegia’ from Arnold van Wyk’s Duo Concertante. SAMUS, 30-31:87-128.

  • Venter, Carina. 2011. Die verband tussen vroeë apartheidsintellektualisering, Afrikanermusiekhistoriografie en die ontluiking van 'n apartheidsestetika in die toonkuns: Westerse kultuur, Afrikanernasionalisme en "O Boereplaas". Litnet Akademies, 8(3), Desember.

2012

  • Froneman, Willemien. 2012. She danced alone: Jo Fourie, the songcatcher of the Groot Marico. Ethnomusicology Forum, 21(1):53-76.

  • Roos, Hilde. 2012. Indigenisation and history: How opera in South Africa became South African opera. Acta Academica, Supplement(1):117-155.

2013

  • De Jongh, M.S. 2013. Anarchy in the archive again: An account of a South African punk rock music collection. Fontes Artis Musicae, 60(2):63-75, April-June.

  • Grové, Izak. 2013. Tussen Bethlehem en Bloubergstrand: Vanaf die oue na die eie in Stefans Grové se oeuvre. Tydskrif vir Geesteswetenskappe, 53(2):138-155.

  • Thom-Wium, Matildie. 2010-2011. Die bydrae van Stefans Grové se 'Raka' tot die Raka-diskoers (The contribution of Stefans Grové's 'Raka' to the Raka discourse). Tydskrif vir Geesteswetenskappe, 53(2):231-247, Junie.

2014

  • Roos, Hilde. 2014. Probing the boundaries of opera as notated practice in South Africa: The case of Eoan. Muziki, 11(2):79-88.

  • Roos, Hilde. 2014. Remembering to forget the Eoan Group: The legacy of an opera company from the apartheid era. South African Theatre Journal, 27(1):1-18.

  • Roos, Hilde. 2014. Viva Verdi: Ringing the changes at Cape Town Opera. Acta Musicologica, 86(2):249-266.

2015

  • De Jongh, M.S. 2015. Armed with a light bulb at the end of a cord: The ten year journey of DOMUS. Fontes Artis Musicae, 62(3):212-221, September.
  • Lambrechts, L. 2015. The house where history ended up: Packing up the Ben Segal collection. Fontes Artis Musicae, 62(3):166-182, September.
  • Roos, Hilde. 2015. Eoan - Our Story: Treading new methodological paths in music historiography. Historia, 60(2), November, doi: 0.17159/2309-8392/2015/V60N2A9 

2016

  • Roos, Hilde. 2016. Briewe aan 'n diva: Die verswyging van gay-identiteit in Gordon Jephtas se briewe aan May Abrahamse. Litnet Akademies, 13(1), Januarie.

2017

  • Froneman, Willemien. 2017. After fame: A micro-ethnography of popular late style. Popular Music and Society:1-16. [Nico Carstens]

  • Pauw, Marietjie. 2017. Naklanke van Arnold van Wyk se Poerpasledam vir fluit en klavier. Litnet Akademies, 14(3).

  • Pistorius, Juliana M. 2017. Coloured opera as subversive forgetting. Social Dynamics, 43(2):230-242. [Eoan opera group]

  • Melck, Antony. 2017. Richard Behrens (1925-2014): Au coeur de l'Afrique du Sud. Orgues Nouvelles, 10(35):36-39, January. [Online version: University of Pretoria]

2018

  • Pistorius, Juliana M. 2018. Eoan, assimilation, and the change of 'Coloured Culture'. SAMUS, 36/37(1):389-415. [Eoan opera group]

  • Stolp, Mareli. 2018. New Music for new South Africans: The New Music Indabas in South Africa, 2000-02. Journal of  te fhe Royal Music Association, 143(1):211-232. [NewMusicSA]

2019

  • Pistorius, Juliana M. 2019. Inhabiting whiteness: The Eoan Group La Traviata, 1956. Cambridge Opera Journal, 31(1):63-84. [Eoan collection]

Research based on DOMUS collections: Conference presentations

2006

  • De Jongh, Santie. 2006. Music collections at the Documentation Centre for Music (DOMUS), Stellenbosch University, with special reference to the Coates collection. New directions, new voices: Founding Conference of a new music association by the Musicological Society of Southern Africa and the Ethnomusicological Symposium, 14-16 September.

  • Grové, Izak. 2006. Of love, death and forsakenness: Revisiting Arnold van Wyk's 'Night music'. New directions, new voices: Founding Conference of a new music association by the Musicological Society of Southern Africa and the Ethnomusicological Symposium, 14-16 September.

  • Lüdemann, Winfried. 2006. Arnold van Wyk's 'Primavera': Music of a new South Africa. New directions, new voices: Founding Conference of a new music association by the Musicological Society of Southern Africa and the Ethnomusicological Symposium, 14-16 September.

  • Muller, Stephanus. 2006. The classical structure of melancholy. New directions, new voices: Founding Conference of a new music association by the Musicological Society of Southern Africa and the Ethnomusicological Symposium, 14-16 September.

  • Thom, Mathildie. 2006. 'Egidius, aer bestu bleven?': Arnold van Wyk se 'Rondo desolato' (Tristia) as 'n lied sonder woorde. New directions, new voices: Founding Conference of a new music association by the Musicological Society of Southern Africa and the Ethnomusicological Symposium, 14-16 September.

2007

  • Roos, Hilde. 2007. The history of opera in South Africa. First congress of the South African Society for Research in Music, Department of Music, University of the Free State, Bloemfontein, 23-25 August.

  • Ross, Barry. 2007. The Michael Scott collection at the University of Stellenbosch. Fontes Artis Musicae, 54(3):331-358, September. First congress of the South African Society for Research in Music, Department of Music, University of the Free State, Bloemfontein, 23-25 August.

  • Thom, Mathildie. 2007. 'But it doesn't mean anything! - So we put in words': The emergence of meaning in Arnold van Wyk's 'Tristia'. First congress of the South African Society for Research in Music, Department of Music, University of the Free State, Bloemfontein, 23-25 August.

2008

  • Muller, Stephanus. 2008. Anton Hartman and Arnold van Wyk: The published correspondence 1941-1981. African voices: Annual SASRIM Conference, Port Elizabeth, 21-23 August.

  • Roos, Hilde. 2008. Complicity or survival: The history of Eoan under apartheid. African voices: Second Annual Conference of the South African Society for Research in Music, Nelson Mandela Metropolitan University, Port Elizabeth, 21-23 August.

  • Roos, Hilde. 2008. Eoan opera group. Colloquium, Stellenbosch University Music Department, 15 September.

2009

  • De Jongh, M.S. 2009. Demonstration lecture on submitting entries for the RILM abstracts database. Postcolonialism & the future of music in South Africa: Society for Research in Music (SASRIM), Durban, 29 June-2 July..

  • De Jongh, M.S. 2009. The creation of an electronic database of South African music collections. Joint Conference of the International Association of Music Libraries, Archives and Documentation Centres (IAML) and the International Musicological Society (IMS), Amsterdam, Netherlands, 5-10 July. [See also Directory of South African music collections].

  • Roos, Hilde. 2009. Probing the boundaries of opera as notated practice: Opera in South-Africa. Joint Conference of the International Association of Music Libraries, Archives and Documentation Centres (IAML) and the International Musicological Society (IMS), Amsterdam, Netherlands, 5-10 July.

  • Roos, Hilde. 2009. Complicity or survival: The history of Eoan under apartheid. John Potter Summer Seminar held at the Music Department of the University of York, United Kingdom, July.

  • Thom Wium, Mathildie. 2009. Arnold van Wyk. Joint Conference of the International Association of Music Libraries, Archives and Documentation Centres (IAML) and the International Musicological Society (IMS), Amsterdam, Netherlands, 5-10 July.

2010

  • Froneman, Willemien. 2010. The riches of embarrassment: On traversing hegemonies.

  • Roos, Hilde. 2010. Opera in exile: The Eoan group. Music and exile: North-South Narratives Symposium, held at the Goethe Institute in Johannesburg as part of the Johannesburg International Mozart Festival, January.

  • Stimie, Annemie. 2010. Jewishness and music in South Africa: The Hans Kramer collection in the National Library, Cape Town.

  • Thom Wium, Mathildie. 2010. Mourning hegemony: Hearing Arnold van Wyk’s String quartet as an echo of Empire.

  • Van der Westhuizen, Natasje. 2010. Echoes of Empire: Music as vice in J.M. Coetzee’s Disgrace.

  • Venter, Carina. 2010. Place, space and ‘grain’: Our Mimi, a voice for (Apartheid) South Africa.

2011

  • De Jongh, S. 2011. The creation of an electronic database of South african music collections. Fifth Annual Knowledge, Archives and Records Management Conference, Inkosi Lodge, Cape Town. 1-2 June. [By invitation].

  • De Jongh, S. 2011. The Documentation Centre for Music (DOMUS) at Stellenbosch University. 2nd International Symposium of Ethnomusicology in Uganda, Makerere University, Kampala, Uganda. 20-22 October. [By invitation].

  • Muller, S. 2011. The archive, disciplinarity and renewal: The DOMUS perspective. 2nd International Symposium of Ethnomusicology in Uganda, Makerere University, Kampala, Uganda. 20-22 October. [By invitation].

  • Muller, Stephanus. 2011. ISMN Panel Discussion, Pretoria, 13 September. [See http://www.ismn-international.org/download/ISMN%20Newsletter%2021_web.pdf. By invitation].

  • Roos, Hilde. 2011. On shaping and being shaped by Colouredness: Eoan and the politics of race. Fifth Annual Conference of the South African Society for Research in Music, Rhodes University, July.

2012

  • De Jongh, S. 2012. Anarchy in the archive again: A story of a South African punk rock music collection. Annual Conference, International Association of Music Libraries Archives and Documentation Centres (IAML). Montréal, Canada 22-27 July.

2013

  • Roos, Hilde. 2013. ‘Eoan – Our Story’, new ways of telling the Eoan story’. Seventh Annual Conference of the South African Society for Research in Music, University of Fort Hare, July.

2015

  • De Jongh, M.S. 2015. Ten years of DOMUS; Next: Africa Open. Ninth Annual Conference of the South African Society for Research in Music, South Africa College of Music,University of Cape Town, 16-18 July.
  • Pistorius, Juliana M. 2015. Dis-orientating the orient: Negotiating post-colonial binaries. Hearing Landscape Critically conference, Harvard University, January.
  • Pistorius, Juliana M. 2015. Singing the West as Resistance: Coloured opera under apartheid. Cultures of struggle: Song, art and performance in popular movements conference, University of Johannesburg, May.
  • Röntsch, Marc. 2015. Setting out in search of Christopher Langford James. Ninth Annual Conference of the South African Society for Research in Music, South Africa College of Music,University of Cape Town, 16-18 July.

2017

  • Pistorius, Juliana M. 2017. Decolonising "struggle": Eoan's politics of the ordinary. Eleventh Annual Conference of the South African Society for Research in Music, School of Music and Conservatory, North West University, Potchefstroom, 28-31 August..
  • Pistorius, Juliana M. 2017. South Africa's Eoan Group and the writing of history. The Future of Music History conference, Belgrade, 28-30 September.
  • Pistorius, Juliana M. 2017. "A Traviata of irony and enjoyment": Coloured opera as political act in apartheid South Africa. Universtiy of Oxford Research Colloquium, October.
  • Pistorius, Juliana M. 2017. Resistance through complicity: Opera and race in apartheid South Africa.  Annual Meeting of the American Musicological Society, Rochester, 9-12 November.

2018

  • Lambrechts, Lizabé. Music and Memory: Singing at the Free Peoples Concerts (1970-1992). 12th annual SASRIM congress, Department of Music, University of KwaZulu-Natal, Durban, 29 August-1 September 2018. [HYMAP collection]
  • Pistorius, Juliana M. Rites of Reversal: Rigoletto at the Republic Festival of 1971. 12th annual SASRIM congress, Department of Music, University of KwaZulu-Natal, Durban, 29 August-1 September 2018. [Eoan collection]

2019

  • Du Toit-Pearce, Minette. Encountering the Archive of South African Soprano Hanlie van Niekerk. 13th annual SASRIM conference, Department of Music, Stellenbosch University, 4-7 September 2019. [Hanlie van Niekerk collection]
  • Röntsch, Marc. A composer in transition. 13th annual SASRIM conference, Department of Music, Stellenbosch University, 4-7 September 2019. [Christopher James collection]

2020

  • Struwig, Mieke. Surveying post-apartheid curricular change at four South African tertiary music departments. 14th annual SASRIM conference, Virtual event, 17-18 September 2020. [Van der Linde and Konservatorium collections]

  

Chapters in books

2020

  • Röntsch, Marc. 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, in M. Rensen & C. Wiley (eds.). Transnational perspectives on artists' lives. Basingstoke: Palgrave Macmillan. 77-89. [Christopher James collection]

Research based on DOMUS collections: Books