Hybrid Traditions in South African Black Choral Music: A Pedagogical Lens for Teaching Counterpoint through Stretto

This article examines choral compositions by Thanduxolo Mahlangeni and Qinisela Sibisi, Black South African choral composers, through the lens of post-structuralism, using Kraidy’s approach. Mahlangeni blends Nguni musical traditions with subtle Western influences. In contrast, Sibisi adheres strongly to Western models while incorporating African rhythmic sensibilities. Both composers use contrapuntal techniques in their work, specifically stretto. This article describes how these works could enhance the diversity of tertiary theory and analysis curricula. It advocates for an intercultural approach in music education that embraces and celebrates diverse musical traditions beyond Western norms. It also illustrates how hybridic South African choral music by Black composers can enrich global pedagogies.