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For several centuries Cape Town has accommodated a great variety of musical genres which have usually been associated with specific population groups living in and around the city. Musical styles and genres produced in Cape Town have therefore been assigned an i?identityi? which is first and foremost social. This volume tries to question the relationship established between musical styles and genres, and social n? in this case pseudo-racial n? identities. In Sounding the Cape, Denis-Constant Martin recomposes and examines through the theoretical prism of creolisation the history of music in Cape T