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The major findings from the content analysis are presented as an assessment framework for CCM. The assessment framework has implications for teaching and learning vocal CCM at both undergraduate and postgraduate in higher education.
de Villiers, A.C. and Gillmer, R. (2023), "An assessment framework for contemporary commercial music (CCM) in higher education", Journal of Applied Research in Higher Education, Vol. ahead-of-print No. ahead-of-print. -11-2022-0337
While there is research on CCM for singers, it does not address assessment, but instead focuses on the challenges of CCM in higher education, focussing on (1) vocal pedagogy (Keskinen, 2013; DeSilva, 2016; Bartlett, 2020; Bartlett and Naismith, 2020; Cox, 2020; Higgins, 2022) and (2) vocal health (Taylor, 2020). The research mainly reports on the challenges experienced in tertiary music departments, which are attempting to accommodate CCM, where academics are trained to teach classical voice, which requires a completely different vocal pedagogy. According to this body of research, CCM is not as established in some higher education settings, despite its popularity and growth in society and ever increasing external graded exams in CCM in the United Kingdom (UK) and Australia.
Their courses concentrate on artist development and instil the essential skills of the 21st-century 3D musician: performance, composition and production. Performance, composition, production, artist development and musicianship are five key focus areas in their Bachelor's degree in popular music. Graduates should be proficient in the following areas [8]:performing a diverse repertoire as original artist/band or as session musician;
South African universities incorporate CCM into jazz or in classical singing. Students enrolled for the principal instrument modules would then select CCM songs as part of their jazz repertoire. The dilemma faced by the researchers was how to assess CCM voice in a department where the singing modules were developed around learning other language repertoire, performing with a piano accompanist, singing a classical repertoire of song cycles, opera arias, performing in spaces such as the auditorium, concert halls and without amplification. One of the researchers is well-versed in curriculum development and management and has worked in higher education for several decades, and the second researcher is classically trained in voice and has completed the Somatic voicework course and also has a career as a performer in contemporary music. They conducted the research and put their findings, which are presented as an assessment framework into practice over several years.
Modern country's early musician Enoch Sontonga wrote the Southern African national anthem Nkosi Sikelel' iAfrika in 1897. By the end of the nineteenth century, South African cities such as Cape Town were large enough to attract foreign musicians, especially American ragtime players. In the 1890s Orpheus McAdoo's Jubilee Singers popularised African-American spirituals.
By the 1950s, the music industry had diversified greatly, and included several major labels. Innovative musician and composer, Charles Segal was the first white musician to work with the indigenous African people, recording tribal performers and promoting African music overseas starting in the 1950s. Charles Segal was also the first white musician to write in the indigenous African style and to bring the African music genre into the commercial market. His single "Africa" was a hit amongst the diverse South African population in the 1960s and he continued to produce, record and teach his own unique style of African music, which was a mix of African and Jazz influences. These compositions include "Opus Africa", "African Fantasy", "Kootanda" and many more. In 1962, the South African government launched a development programme for Bantu Radio in order to foster separate development and encourage independence for the Bantustans. Though the government had expected Bantu Radio to play folk music, African music had developed into numerous pop genres, and the nascent recording studios used radio to push their pop stars. The new focus on radio led to a government crackdown on lyrics, censoring songs which were considered a "public hazard".
In the 1960s jazz split into two fields. Dance bands like the Elite Swingsters were popular, while avant-garde jazz inspired by the work of John Coltrane, Thelonious Monk and Sonny Rollins was also common. The latter field of musicians included prominent activists and thinkers, including Hugh Masekela, Abdullah Ibrahim (formerly known as 'Dollar Brand'), Kippie Moeketsi, Sathima Bea Benjamin, Chris McGregor, Johnny Dyani and Jonas Gwangwa. In 1959, American pianist John Mehegan organised a recording session using many of the most prominent South African jazz musicians, resulting in the first two African jazz LPs. The following year saw the Cold Castle National Jazz Festival, which brought additional attention to South African jazz. Cold Castle became an annual event for a few years, and brought out more musicians, especially Dudu Pukwana, Gideon Nxumalo and Chris McGregor. The 1963 festival produced an LP called Jazz The African Sound, but government oppression soon ended the jazz scene. Again, many musicians emigrated or went into exile in the UK or other countries.
In 1968 Hugh Masekela got big hit "Grazing in the Grass", and it reached No.1 on Billboard pop chart. While the African jazz of the north of South Africa was being promoted in Johannesburg, musicians in Cape Town were awakening to their jazz heritage. Pianist Charles Segal, who had moved from Pretoria to Cape Town, brought an enthusiasm for jazz after several trips to the US, where he met and was influenced by the jazz pianist Oscar Peterson. The port city had a long history of musical interaction with seafaring players. The rise of the Coon Carnival and the visionary talent of Abdullah Ibrahim (Dollar Brand) and his sax players Basil Coetzee and Robbie Jansen led to Cape Jazz. It was an improvised version of their folk songs with musical reference to European and American jazz which would go on some 20 years later to be South Africa's most important jazz export.
Ladysmith Black Mambazo, headed by the sweet soprano of Joseph Shabalala, arose in the 1960s, and became perhaps the biggest isicathamiya stars in South Africa's history. Their first album was 1973's Amabutho, which was also the first gold record by black musicians; it sold over 25,000 copies. Ladysmith Black Mambazo remained popular throughout the next few decades, especially after 1986, when Paul Simon, an American musician, included Ladysmith Black Mambazo on his extremely popular Graceland album and its subsequent tour of 1987.
One artist of specific note to come from this era was James Phillips who was involved with several influential and important bands including Corporal Punishment; Cherry Faced Lurchers; and his Afrikaans alter ego Bernoldus Niemand (roughly translates as Bernard Nobody). With his Bernoldus Niemand character, James managed to cross the language division and influence a whole range of Afrikaans speaking musicians to the same punk ethic that had inspired him, and an important Afrikaans alternative rock scene grew from this influence.
The original Mahotella Queens line-up reunited with Mahlathini and the Makgona Tsohle Band in 1983, due to unexpected demand from mgqashiyo and mbaqanga fans. Ladysmith Black Mambazo took their first step into the international arena via Paul Simon on his Graceland album in 1986, where a series of reissue albums by US label Shanachie sold very well. Mambazo became world travellers, touring the world and collaborating with various Western musicians to massive success. "Graceland" won many awards including the Grammy Award for Best Album of the Year. A year later, Simon produced Black Mambazo's first U.S. release, Shaka Zulu, which won the Grammy Award, in 1988, for Best Traditional Folk Album. Since then, and in total, the group has received fifteen Grammy Award Nominations and three Grammy Award wins, including one in 2009.[12] The Graceland album not only propelled Mambazo into the spotlight, but paved the way for other South African acts (including Mahlathini and the Queens, Amaswazi Emvelo, Moses Mchunu, Ray Phiri and Stimela, The Mighty Soul beat and others) to become known worldwide as well.
Johnny Clegg got his start in the 1970s playing Zulu-traditional music with Sipho Mchunu, and became prominent as the only major white musician playing traditional black music, achieving success in France as "Le Zoulou Blanc" (The White Zulu). The 1980s also saw a resurgence in rock and roll bands, among them The Helicopters, Petit Cheval, Sterling and Tellinger.
Afrikaans-language music saw a resurgence in the 1980s as the Voëlvry ("free as a bird" or "outlawed") movement reflected a new Afrikaans artistic counter-culture largely hostile to the values of the National Party and conservative Afrikanerdom. Spearheaded by the singer-songwriter Johannes Kerkorrel and his Gereformeerde Blues Band, the movement (which was named after Kerkorrel's 1989 regional tour) also included musicians Bernoldus Niemand (aka James Phillips) and Koos Kombuis. Voëlvry tapped into a growing dissatisfaction with the Apartheid system amongst white Afrikaans speakers, and thus Voëlvry represents the musical branch of opposition that was paralleled by literature and the arts.[14]
In 1994, South African media was liberalised and new musical styles arose. Prophets of Da City became known as a premier hip hop crew, though a South Africanised style of hip hop known as kwaito soon replaced actual hip hop groups. In kwaito, synthesisers and other electronic instruments are common, and slow jams adopted from Chicago house musicians like The Fingers, Tony Humphries and Robert Owen are also standard. Stars of kwaito include Trompies, Bongo Maffin, TKZee, Mandoza and Boom Shaka. The band Tree63 also emerged, first known for their hit single, "A Million Lights" and then further popularised by their version of Matt Redman's "Blessed Be Your Name".
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