This is the updated and substantially expanded second edition of Christopher Ballantine's classic Marabi Nights, which offers a fascinating view of the triumphs and tragedies of South Africa's marabi-jazz tradition. Based on conversations with legendary figures in the world of music - as well as a perceptive reading of music, the socio-political history, and social meanings - this book is one of sensitive and impassioned curatorship. New chapters extend the book's in-depth account of the birth and development of South African urban-black popular music. They include a powerful story about gender relations and music in the context of forced migrant labor in the 1950s, a critical study of the legendary Manhattan Brothers that uniquely positions their music and words in relation to the apartheid system, and an account of the musical, political, and commercial strategies of the local record industry. A new afterword looks critically at the place of jazz and popular music in South Africa since the end of apartheid, and argues for the continued relevance of the robust, questioning spirit of the marabi tradition. The book includes an illustrative CD of historic sound recordings that the author has unearthed and saved from oblivion.

These `interventions’ are spurred by what in South Africa today is a buzz-phrase: social cohesion. The term, or concept, is bandied about with little reflection by leaders or spokespeople in politics, business, labour, education, sport, entertainment and the media. Yet, who would not wish to live in a socially cohesive society? How, then, do we apply the ideal in the daily round when diversity of language, religion, culture, race and the economy too often supersedes our commitment to a common citizenry? How do we live together rather than live apart? Such questions provoke the purpose of these interventions. The interventions – essays, which are short, incisive, at times provocative – tackle issues that are pertinent to both living together and living apart: equality/inequality, public pronouncement, xenophobia, safety, chieftaincy in modernity, gender-based abuse, healing, the law, education, identity, sport, new `national’ projects, the role of the arts, South Africa in the world. In focusing on such issues, the essays point towards the making of a future, in which a critical citizenry is key to a healthy society. Contributors include leading academics and public figures in South Africa today: Christopher Ballantine, Ahmed Bawa, Michael Chapman, Jacob Dlamini, Jackie Dugard, Kira Erwin, Nicole Fritz, Michael Gardiner, Gerhard Maré, Monique Marks, Rajend Mesthrie, Bonita Meyersfeld, Leigh-Ann Naidoo, Njabulo S. Ndebele, Kathryn Pillay, Faye Reagon, Brenda Schmahmann, Himla Soodyall, David Spurrett and Thuto Thipe.

First Published in 1984. This is the second volume in a series on musicology and related areas edited by F. Joseph Smith. Deciphering the specific social characteristics of music has long lagged behind the analytical dissection of musical composition and biographical musicology. The essays in this volume have been produced in an attempt to redress the balance. The sociology of music as examined here is an investigation into the ways social formations come together in musical structures. These essays specifically address the problem of our neutralized music consciousness, the separation of music from the social context and the artificial insulation of musical understanding from the realms of social meanings. One theme in these essays concerns the struggle against ideological distortions arising from the insulation of music from its sociological context. The author argues that there is a stronger connection between music and society than is generally assumed.

Deciphering the specific social characteristics of music has lagged behind the analytical dissection of musical composition and biographical musicology. These essays address the issue. The sociology of music as examined here is an investigation into the ways in which social formations come together in musical structures. The essays specifically address the problem of our neutralized musical consciousness, the separation of music from its social context and the artificial insulation of musical understanding from social significance. A particular theme in this work concerns the struggle against ideological distortions arising from the insulation of music from its sociological context. The author argues that there is a stronger connection between music and society than is generally assumed.