Acknowledgments

This edition could not have been completed without the generous financial assistance of the Andrew Mellon Foundation, New York and infrastructural support from Stellenbosch University, both of whom I heartily thank. I am particularly indebted to the Director of the African Open Institute for Music, Research and Innovation, Professor Stephanus Muller, for his belief in the importance of this work and for his huge efforts to ensure that Mellon funds were available. Thanks are also due to the Vice-Chancellor of Stellenbosch University, Professor Wim de Villiers, who agreed to sponsor a Special Limited Edition of 20 copies published by African Sun Media in 2020.

The Mellon Foundation awarded three postgraduate bursaries, a post-doctoral fellowship and a research assistantship so that training could take place while the edition was compiled. Its production thus became a team effort, and the Africa Open Institute provided the resources and bonhomie for the ‘Moerane team’ to meet periodically between 2017 and 2019. It comprised Mokale Koapeng, Ignatia Madalane, Kgaugelo Mpyane, Mpho Ndebele, Marc Röntsch, Zayne Upton, and in the initial stages Cara Stacey, to all of whom I am deeply grateful. Ultimately, a team cannot do the finicky work of seeing an edition of nearly 700 pages through to publication, and I take full responsibility for the final outcome, relieved to know that mistakes can be corrected on the online edition. (Please notify me of errors, via the contact us page.) In 2017, Zayne Upton converted the online platform of African Composers Edition, originally designed by Albert Sapsford in 2013 for the Mohapeloa Critical Edition and Surendran Reddy Edition, in order to incorporate the Moerane Edition. I am indebted to Zayne for his hard work and continuing maintenance of the site. My profound gratitude also goes to my husband, Michael Blake for supporting me throughout the months of finalisation of the Edition in 2020.

The following institutions are acknowledged for providing valuable material and information:

  • Cory Library for Historical Research, Rhodes University, Grahamstown
  • Documentation Centre for Music, Stellenbosch University, Stellenbosch
  • International Library of African Music, Rhodes University, Grahamstown
  • Lukhanji Museum, Komani (formerly Queenstown Frontier Museum)
  • Morija Museum and Archives, Morija, Lesotho
  • National Library of South Africa, Pretoria
  • National Sesotho-Afrikaans Literary Museum, Bloemfontein
  • South African Broadcasting Corporation Radio Sound Archives, Johannesburg
  • South African History Archives, Johannesburg
  • South African Society for Research in Music
  • Southern African Music Rights Organisation, Johannesburg
  • University of Cape Town Museums and Archives, Cape Town
  • William Cullen Library, Wits University, Johannesburg

The following individuals are acknowledged for their intellectual and practical support:

David Ambrose, Michael Blake, Susan Brown, William Fourie, Mark Gevisser, Stephen Gill, Ron and Priscilla Hall, Pamela Hicks, Moriee Khaebana, Victor Lechesa, Eric Lekhanya, John Lucia, Fezeka Mabona, Tseliso Makhakhe, Mafothe Malaoli, Shadrack Mapetla, Mamhlongo Maphisa, Epainette Mbeki, Zakes Mda, Percy and Flesba Mangoaela, Marumo Moerane, Mofelehetsi Moerane, Neo Mahase Moerane, Ms Neo Moerane, Thuso Moerane, Sophia Moerane, Tsepo Moerane, Lebohang Mofelehetsi, Stephanus Muller, Angela Mullins, Mpho Ndebele, Mosa Ndludla, Mpho Ndebele, Sibusiso Njeza, Grant Olwage, Barry Peter Ould, Nthabisng Philison, Leigh Phipson, Mr. T Pitso, Ms Tii Pitso, Matsobane Putsoa, Mr. Ramaema, Gilbert Ramatlapeng, Nosipho Rapiya, Hilde Roos, Albert Sapsford, John Simon, Cara Stacey, Makonye Tiiti, Thembela Vokwana, Zayne Upton, Liz Welsh.

Finally, I heard with great sadness of the death of Thuso Majalla Moerane in July 2020, when this publication was almost complete.[1] This edition of his father’s music was to be dedicated to Thuso, and is now respectfully dedicated to his memory.

When I first met Thuso in 2014, I discovered that he had been curating Moerane’s music for years - he had many scores that people had never seen - and I found him to be a man of immense warmth, humility, and quiet humour. He prepared for my visit in 2014 by getting all the scores in order, checking the lists in his possession and seeking out two unpublished family biographies. He allowed me to scan everything and to interview him, and he expressed relief that all the music would finally see the light of day. I visited him again in 2017, and for the last time in September 2019 in the company of his son, Tsepo, and his daughter, Neo. By this time, it was clear that Thuso was not well. He was unable to join in our conversation, but he responded warmly to the draft edition that I showed him. Thank you, Thuso, for everything that you did for music scholarship in southern Africa, by taking care of this valuable legacy and honouring your father’s memory.

Christine Lucia, August 2020


[1] The photograph of Thuso Majalla Moerane on the Dedication page was taken by the author on 12 May 2014.

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