Abstract:
This research explores the conceptual processes that are being followed by the
transcribers and arrangers that are currently active in the Cape Malay Choir Board
(CMCB) competitions. There is a dearth of scholarly sources pertaining to the
transcriptions and arrangement of the Cape Malay music that are used in the CMCB
competitions. In order to create a conceptual framework for this research, the literature review was conducted to understand transcribed and arranged folk music in the global spectrum, as well as the history of Cape Malay and the external influences of the CMCB. The qualitative research was used to collect and analyse data. The qualitative approach was of an intrinsic case study pertaining to findings that were used to answer the research questions. Six participants were selected by the CMCB to answer the semistructured interviews. The participants were selected by virtue of their current involvement in the CMCB competitions. The findings of this research were analysed by using reflexive thematic analysis. The analysed data revealed that the participants have varying levels of musical knowledge and employ different approaches when transcribing and arranging the Cape Malay music for their choirs and musicians. Furthermore, the participants reflected on their methodological approach as to the reasons and motives they subscribe to a particular methodology of transcribing and arranging their music for rehearsal purposes and stage performances. The results of the research indicated that the participants’ conceptual processes are dependent on their music knowledge of the Cape Malay music acquired through familial generational experiences in the CMCB competitions, the oral transfer of Cape Malay musicking, the use of music technology, and lastly, for some participants – their level of formal music grades and/or degrees.
