Die musiekaktiwiteite van die SAUK, 1936-1966

Abstract

The introduction to this study is intended to present a framework in broad perspective, in which the music activities of the SABC may be set out and evaluated. In the first place the introduction contains a short history of radio in South Africa, which is necessary since certain historical facts influenced to a great extent the unfolding of the SABC's music policy and related musical activities which it stimulated. Secondly, the BBC has been discussed, because the SABC functions as a public corporation initially modelled on the BBC (which, in the field of music broadcasting may be accepted as a standard). Attention is here given to the nature and contents of the BBC's various programme services, as well as the work of the various departments affecting the activities and organisation of its music department. The wealth of clearly defined policies which have inspired the BBC's music activities are used, especially to establish certain norms by means of which the unfolding of the SABC's policy may be evaluated. In part II an exposition is given of the services supplied by the various departments of the SABC which are constantly concerned with the activities of the music department. In conjunction with the general historical survey in the introduction, the development of these departments is also dealt with historically , with special emphasis given to various aspects of the SABC's declared music policy. This policy is further considered in parts III and IV, where special attention is given to the policy regarding contemporary music, the Corporation's role in propagating and preserving indigenous South African music, and the opportunities which it offers to South African performing artists and composers. The music culture of the Non-European population groups of South Africa is also dealt with here. Finally, the problematical situation with regard to differences of taste amongst the SABC's listeners is considered, for which purpose the well formulated, imaginative policies of the BBC are held up as ideal examples.

This study reveals that the SABC has become one of the most influential single factors in South African cultural life and that its task in the community has to a great extent been successfully carried out, in terms of its own declared policies. For this, it deserves much credit. There are, however, certain aspects of the task which in my opinion have not come up to expectations, and in respect of which no clearly formulated policy statements could be traced. As the SABC is in an ideal position to act as patron of a dynamic, contemporary music culture, it is, for example, disappointing to notice a tendency to popularise indiscriminately certain traditional and commercialised musical idioms.