ABSTRACT The article explores the censorship of music under apartheid South Africa as practised by the state broadcaster, the South African Broadcasting Corporation (SABC). The article suggests that while no formal government structures were in place to censor music per se (government censorship structures were primarily concerned with the restriction and surveillance of literature, film and the media), the SABC was the most dominant censor of musical production and dissemination on the apartheid state’s behalf. The article argues, based on archival findings dating from 1986 to 1996, that the SABC’s Central Acceptance Committee (CRAC), tasked to assess the suitability of musical items for broadcast, attempted to align itself with government censorship procedures but was placed in an ambiguous position with the gradual change in political climate from approximately 1990 to 1996 (the year in which the committee was dismantled). The data collected does therefore not reflect a censorship system functioning securely in the years of ‘grand apartheid’, but rather one that was beginning to disintegrate under the pressures of political reform. In addition, the article argues that music, unlike literature (that was assessed in the light of its ‘artistic merit’), was censored without any particular aesthetic programme in mind.

中文翻译：

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记录音乐静音和可听性的结构：南非广播公司的中央记录接受委员会，从1986年到1996年

摘要本文探讨了南非国家广播公司南非广播公司（SABC）实行的种族隔离下的音乐审查制度。该文章建议，虽然没有正式的政府机构来审查音乐本身（政府机构主要涉及文学，电影和媒体的限制和监督），但SABC是音乐生产和传播的最主要的机构代表种族隔离国家。本文根据1986年至1996年的档案发现，认为SABC的中央验收委员会（CRAC）负责评估音乐作品是否适合广播，试图使自己与政府的审查程序保持一致，但由于大约1990年至1996年（该委员会被解散的那一年）的政治气氛的逐渐变化而处于不明确的位置。因此，收集到的数据并不能反映出在“大种族隔离”时代安全运行的审查制度，而是在政治改革的压力下开始瓦解的审查制度。此外，文章认为，音乐与文学不同（根据其“艺术价值”进行评估），其审查没有考虑任何特定的美学程序。而是在政治改革的压力下开始瓦解的一种。此外，该文章认为，音乐与文学不同（根据其“艺术价值”进行评估），其审查没有考虑任何特定的美学程序。而是在政治改革的压力下开始瓦解的一种。此外，文章认为，音乐与文学不同（根据其“艺术价值”进行评估），其审查没有考虑任何特定的美学程序。