The rhetorical function of the music in Ubu and the Truth Commission is explored through an analysis of the songs and accompanying soundscape to reveal a problematization of the concept of reconciliation. This is achieved by emphasizing the colonial history of South Africa and undermining the explicit messages Pa Ubu delivers in his songs through instrumentation, the use of music identified with the protest movement, and through harmonic and melodic function. Particular attention is paid to the juxtaposition of instruments and sounds of the West with those of Africa or the global South, and the defamiliarization of the idea of ‘home’ and the recognition of Pa Ubu’s position of influence and power through the harmonic function of the dominant pitch and tonality.

通过对歌曲和伴随声景的分析，探索了乌布和真相委员会音乐的修辞功能，揭示了和解概念的问题化。这是通过强调南非的殖民历史并通过乐器、使用与抗议运动相关的音乐以及通过和声和旋律功能破坏帕乌布在他的歌曲中传达的明确信息来实现的。特别关注西方乐器和声音与非洲或全球南方乐器和声音的并置，以及对“家”概念的陌生化和对帕乌布影响力和权力地位的认可主要音高和音调。