Carina holds a Doctorate of Musicology from the University of Oxford, Master’s of Musicology from the Universities of Oxford and Stellenbosch, and a Bachelor of Music from the University of Pretoria. She graduated in 2023 with a Master’s of Business Administration from Stellenbosch University’s School of Business as the top student in the MBA General (Modular) cohort. Fellowships and scholarships include a Rhodes Scholarship to study at the University of Oxford (2009), a Junior Research Fellowship at Merton College, University of Oxford (2014-2017), A Stellenbosch University Strategic Fund award (2020-2022), and an  Iso Lomso Visiting Scholar at the Stellenbosch Institute for Advanced Study (2023). Her research interests centre on music, violence, trauma, decolonial thought, and discourses of apartheid and colonialism. Carina has published locally and internationally, and am motivated to think, write, and teach at the intersections of music, politics, and those questions that continue to render our present precarious and unequal. She has supervised students on a wide range of topics, including decolonisation of the tertiary music curriculum, trauma and violence in music, music and gender, and several South African composers. Her current cohort of postgraduates work on topics including the music of Philip Miller, musical theatre in the 1970s in South Africa, video-game music, music and rage, and psychoanalysis, curricular decolonisation, Afrikaans cabaret, and emancipative pedagogies. In 2023, Carina has been elected to take up an Iso Lomso fellowship (2024-2026) at the Stellenbosch Institute for Advanced Study to work on her latest project titled South African Histories of Trauma and Abuse in Institutionalised Spaces of Music Pedagogy and Practice. Carina’s latest publications can be read here,  here, and here.

William is a senior lecturer in musicology at Rhodes University’s Department of Music and Musicology. He holds a PhD from Royal Holloway, University of London and a Masters Degree in Musicology from Merton College, University of Oxford. He is interested in experimental South African music, technology, and issues of postapartheid modernity. His work straddles disciplines such as musicology, music analysis, decolonial theory, science and technology studies, critical theory, and hermeneutics. He has published articles in Twentieth Century MusicPerspectives of New Music, Tempo, SAMUS, Muziki and a number of other journals. 

Hilde Roos is a researcher at Africa Open Institute for Music, Research and Innovation at Stellenbosch University. Her work focuses on historical and contemporary representations of opera in South Africa with special reference to the intersection of the genre with politics and race. She has published widely about the Eoan Group, a so-called coloured opera group who performed opera during Apartheid. She is the author of The La Traviata Affair – Opera in the Age of Apartheid (University of California Press, 2018), and joint editor of “Sorry. I am what I am.” The life and letters of the South African pianist and opera coach Gordon Jephtas (1943–92) (Basler Afrika Bibliografien, 2023) and EOAN – Our Story (Fourthwall Books, Johannesburg, 2013). In 2020 she co-edited African Theatre – Opera and Music Theatre, exploring historical and contemporary traces of opera and music theatre on the African continent.

Hilde is also a founder member of the Black Opera Research Network, an international network of scholars that engage with conversations on the history, experiences, politics and practices of Black Opera.

Mieke Struwig is currently in the final year of her PhD studies under the guidance of Dr Carina Venter and Prof. Stephanus Muller where she is researching the intellectual history of institutionalised music studies in 20th-century South Africa. She completed her BMus: Performing Arts (Cum Laude) at Nelson Mandela University, specialising in clarinet performance. Here she received the Nelson Mandela University Vice-Chancellor’s medal in 2019 for the best first degree in the university. After a move to Stellenbosch University, she completed her MMus: Musicology (Cum Laude) in 2020 under the guidance of Dr Carina Venter, where she investigated the decolonisation of the BMus Curricula of four South African tertiary music departments. Her research interests include decolonial thought, intellectual and institutional histories and their relation to discourses of apartheid and colonialism as well as archival research. Her work has been published in SAMUS.

Stephanie Vos is a Lecturer in Musicology at Stellenbosch University. Her primary research interests are in South African jazz and exile under apartheid, and, more recently, the contemporary South African jazz landscape. She is the co-editor (with Stephanus Muller) of Sulke Vriende is Skaars: Die briewe van Anton Hartman en Arnold van Wyk, 1947-1982 (Protea 2020), a book comprising the annotated correspondence between Anton Hartman and Arnold van Wyk. Sulke Vriende was awarded the KykNet Rapport Prize for Non-Fiction, as well as the ATKV Woordveertjie for Non-Fiction.

Stephanie’s writing has been published in the South African Journal of Music Research (SAMUS), herri online journal, Playing for Keeps: Improvisation in the Aftermath (Duke University Press, eds. Daniel Fischlin and Eric Porter) and The Conversation Africa.

ResearchGate profile

Cara Stacey is a South African musician, musicologist and former winner of the Standard Bank Young Artist for Music (2021). She holds a doctorate in African music, specifically looking at the makhoyane musical bow from Eswatini (University of Cape Town/SOAS). Stacey has performed across southern Africa, in the United Kingdom, Brazil, Peru, the USA and Switzerland with the likes of Shabaka Hutchings, Sarathy Korwar, Mpho Molikeng, Galina Juritz, Natalie Mason, Beat Keller, Matchume Zango, Jason Singh and Juliana Venter. Cara is a Lecturer in Creative Music Technologies at the University of Witwatersrand.

Cara on ORCID
Cara on Researchgate
Cara on Academia.edu

Trained as a classical singer, Alida van der Walt (mezzo) holds BMus and BMusHons degrees in vocal performance from the Stellenbosch University. She recently completed a Master’s degree in Musicology at Rhodes University, investigating expectations of female respectability in classical vocal performance in South Africa, and supervised by Dr William Fourie. This project, which contained an artistic research component, firmly positioned Alida in the liminal space between practical musicianship and academia. Simultaneously musician and academic, her musical and academic projects are mutually constitutive and inform each other in an ongoing loop. Alida is currently a first-year PhD student, supported by the National Research Foundation through the SARChI Chair in Violent Histories and Transgenerational Trauma.


Marc Röntsch is a senior lecturer in musicology at the Odeion School of Music, University of the Free State.. He holds a PhD from Stellenbosch University, and has previously held postdoctoral fellowships at the Africa Open Institute for Music, Research and Innovation, and Nelson Mandela University. His research focuses on the dialogical relationship between biography, archive and musicology, as well as further research interests in popular music and digital scholarly editions.

Marc’s current research focuses on underground alternative popular musicians from the Western Cape, as well as the intersections of auto/biography and music archives in the life and works of Zimbabwean-born composer Christopher Langford James. Marc is also a performing bassist and guitarist, and loves tea and coffee, reading, and Doctor Who.

Stephanus Muller is Professor of Music and Director of the Africa Open Institute for Music, Research and Innovation (AOI) at Stellenbosch University. AOI publishes the digital arts intervention, herri, and hosts a number of inter-institutional research projects. Muller is a founding member of SASRIM, and a former co-editor of South African Music Studies (SAMUS). For further information, see here and here.

Claire Röntsch (neè de Kock) is a saxophonist, session musician, composer, arranger and music lecturer. She graduated with a BMus in Jazz Performance at the South African College of Music (SACM) in 2014 with distinction and completed her Masters degree at SACM in 2022 with a scholarship in Jazz Composition and Arrangement, under the tutelage of renowned local music composers Dr Mike Campbell and Prof Amanda Tiffin.

In 2015 Claire won the Fine Music Radio Jazz Performance competition. She has performed internationally and locally, including touring Europe in 2012 and 2014 with the MIAGI Youth Orchestra, travelling to Paris on a Cape Town/France youth exchange programme with George Werner and Marcus Wyatt in 2013, playing at the Cape Town International Jazz Festival in 2016 and 2019, and with various jazz ensembles around Cape Town, including Hugh Masekela, Freshlyground, the Cape Philharmonic Orchestra, and George Anderson of Shakatak. She continues to perform with bands such as The Swing Collective, The Lady Day Big Band, Morena Leraba, Lana Crowster, Msaki and her own progressive jazz quartet (who perform her own compositions).

Matildie Wium is a senior lecturer in musicology and music theory in the Odeion School of Music at the University of the Free State in Bloemfontein, South Africa. Since completing her doctorate on the music of South African composer Arnold van Wyk (1916–1983) in 2013, she has maintained her research interest in twentieth-century South African art music, and has also broadened her focus to include the musical practices and experiences of female opera singers in mid-nineteenth century London. She has contributed to multiple edited volumes, and has published in the Journal of the Royal Musical Association as well as several South African journals. Wium was awarded a master’s degree in vocal performance by the University of the Free State in 2016. She is married to Daniël Wium and the mother of two toddlers. 


Jaco Meyer is a composer and musicologist based in Johannesburg. He completed his PhD at the North-West University on research about musical forces and an FTCL in composition at the Trinity College of London. He presented several research papers at both national and international conferences of SASRIM, ICTM, SysMus and PASMAE on his research, of which some were also published in journals and conference proceedings. As a composer, he had much success with several commissions, performances, recordings and publications of his music. His music was performed at concerts such as the South African Music Concert, Young Composers Concert and Fresh Connections Concert. Several of his compositions were performed internationally and by international artists such as the Chamber Music Company of London, the Groesbeeks Gemengd Koor (Netherlands), Duo Montagnard (USA), and the Antwerp Symphony Orchestra (Belgium). Jaco promotes interdisciplinary research and artistic collaborations, and actively continues his research in music theory, composition, and perception.

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