Mzilikazi Khumalo (1932-2021), an iconic figure in choral music in South Africa, rose to prominence as one of Africa''s leading composers of art music. This is a work of music history.

Biographical essays on Khumalo''s major works, including those for choir, orchestra, and opera are complemented by contextual studies of his compositions and arrangements as well as reflections on his roles as editor, conductor, and music director. Specifically in the context of South Africa''s cultural and political transition from Apartheid to democracy, Khumalo''s key role in establishing the Nation Building Massed Choir Festival, a multi-racial institution that forged an inclusive space for music, in the 1980s is discussed as evidence of his importance and relevance in South African culture.

Khumalo''s major works are studied in relation to contemporary art music, choral composition, and traditional song. These are UShaka KaSenzangakhona (1996), an African epic, and Princess Magogo KaDinuzulu (2002), one of the first indigenous African operas. Khumalo''s artistic collaborators provide insight into their experiences working on these major projects, documenting the relationships the composer cultivated with his peers. This volume addresses a lacuna in the literature on South African art music which until recently tended to focus on works in the classical tradition and shows that Khumalo is a composer without peer in his synthesis of classical and choral, traditional and contemporary.

Mzilikazi Khumalo (1932-2021), an iconic figure in choral music in South Africa, rose to prominence as one of Africa''s leading composers of art music. This is a work of music history.

Biographical essays on Khumalo''s major works, including those for choir, orchestra, and opera are complemented by contextual studies of his compositions and arrangements as well as reflections on his roles as editor, conductor, and music director. Specifically in the context of South Africa''s cultural and political transition from Apartheid to democracy, Khumalo''s key role in establishing the Nation Building Massed Choir Festival, a multi-racial institution that forged an inclusive space for music, in the 1980s is discussed as evidence of his importance and relevance in South African culture.

Khumalo''s major works are studied in relation to contemporary art music, choral composition, and traditional song. These are UShaka KaSenzangakhona (1996), an African epic, and Princess Magogo KaDinuzulu (2002), one of the first indigenous African operas. Khumalo''s artistic collaborators provide insight into their experiences working on these major projects, documenting the relationships the composer cultivated with his peers. This volume addresses a lacuna in the literature on South African art music which until recently tended to focus on works in the classical tradition and shows that Khumalo is a composer without peer in his synthesis of classical and choral, traditional and contemporary.

Mzilikazi Khumalo (1932-2021), an iconic figure in choral music in South Africa, rose to prominence as one of Africa''s leading composers of art music. This is a work of music history.

Biographical essays on Khumalo''s major works, including those for choir, orchestra, and opera are complemented by contextual studies of his compositions and arrangements as well as reflections on his roles as editor, conductor, and music director. Specifically in the context of South Africa''s cultural and political transition from Apartheid to democracy, Khumalo''s key role in establishing the Nation Building Massed Choir Festival, a multi-racial institution that forged an inclusive space for music, in the 1980s is discussed as evidence of his importance and relevance in South African culture.

Khumalo''s major works are studied in relation to contemporary art music, choral composition, and traditional song. These are UShaka KaSenzangakhona (1996), an African epic, and Princess Magogo KaDinuzulu (2002), one of the first indigenous African operas. Khumalo''s artistic collaborators provide insight into their experiences working on these major projects, documenting the relationships the composer cultivated with his peers. This volume addresses a lacuna in the literature on South African art music which until recently tended to focus on works in the classical tradition and shows that Khumalo is a composer without peer in his synthesis of classical and choral, traditional and contemporary.