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In this Issue

Table of Contents

  1. Guest Editor’s Introduction
  2. Chris van Rhyn
  3. pp. 5-7
  4. DOI: https://doi.org/10.1353/pnm.2021.0009
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  1. Code Switching as a Linguistic-Compositional Device in Selected Choral Works by Ghanaian Composers
  2. Joshua Amuah, Hilarius Wuaku
  3. pp. 9-29
  4. DOI: https://doi.org/10.1353/pnm.2021.0010
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  1. Tone Realization and Register Transformations in Nigerian Art Music: A Formal Analysis of Èkwúèmé and Olúrántí
  2. Aaron Carter-Enyi
  3. pp. 31-79
  4. DOI: https://doi.org/10.1353/pnm.2021.0011
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  1. Integrating Abfallmaterials into the Harmonic Mainstream: Quartally Derived Compounds in the Compositional Language of Hendrik Hofmeyr
  2. Wilhelm Delport
  3. pp. 99-146
  4. DOI: https://doi.org/10.1353/pnm.2021.0012
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  1. Spectral Resistance in Andile Khumalo’s Bells Die Out
  2. William Fourie
  3. pp. 147-171
  4. DOI: https://doi.org/10.1353/pnm.2021.0013
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  1. Rethinking Nollywood Film Music: The Case for a Persistent Identity System
  2. Emaeyak Peter Sylvanus
  3. pp. 173-201
  4. DOI: https://doi.org/10.1353/pnm.2021.0014
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  1. The Strain of the Voice in Michael Blake’s Umngqokolo
  2. Esther Marie Pauw
  3. pp. 203-226
  4. DOI: https://doi.org/10.1353/pnm.2021.0015
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  1. When Art and Music Meet: Reporting on Collaborations and Integrations, with a Focus on Johannesburg
  2. Jaco Meyer
  3. pp. 227-266
  4. DOI: https://doi.org/10.1353/pnm.2021.0016
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  1. Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins by David F. Garcia (review)
  2. Hannah Strong
  3. pp. 267-270
  4. DOI: https://doi.org/10.1353/pnm.2021.0017
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  1. In Memoriam: Wayne Slawson
  2. pp. 271-272
  3. DOI: https://doi.org/10.1353/pnm.2021.0018
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  1. Harbouring Fanon
  2. Christine Dixie
  3. pp. 273-277
  4. DOI: https://doi.org/10.1353/pnm.2021.0019
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  1. Personae
  2. pp. 283-285
  3. DOI: https://doi.org/10.1353/pnm.2021.0020
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