My dissertation engages the postapartheid and the concept of cultural ‘development’ in reading the Cape music archive. It proceeds through a ‘process geography’ of music and ‘placemaking’. In this sense it reads a genealogy of a port city’s colonial, mercantile, industrial and post-industrial life in music, and reads ‘Cape music’ against the ‘worlding’ of the Atlantic, Indian Oceanic, and terrestrial Africa. The archive is manifest in sonic, visual and performative registers – considering music making materially, symbolically and affectively. Hence it invites the ‘audit’ as a discursive methodology that seeks to amplify the symptoms of early and late modernity ‘ in the subregion’s musical life. Finally, a musical ‘world’ is tracked for erasures, for emergences, for residues of the old, and for prefiguring’s of newness in tropes of subjectivity and musicality in jazz performance, in technologies and in festive musical celebration.