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Thesis--Heidelberg, 1978. / Includes bibliographical references (p. 253-267).

Thesis--Heidelberg, 1978. / Includes bibliographical references (p. 253-267).

This is a detailed study of Afro-American folklore and its presence in George Gershwin' s Porgy And Bess. The study concerns itself with the historical, spiritual, analytical and sociological aspects of the opera. Negro traits are explored from their environments to their lifestyle, from their folklore to their underlying values and traditions. The first chapter is entitled 'TOWARDS A DEFINITION OF FOLK'. Before even discussing Afro-American folklore, the meaning of 'folk' or 'folklore' needs to be established. What is most important about 'folk music' is that it is learnt through oral tradition. Among its many functions are accompanying activities, narrations or dance music. There are certain musical styles which are characteristic of folk music; this comprises the text, melody, harmony, form or singing style. The most common folk instruments used are shared with the world's simplest tribal cultures. It is history that makes folk music. A community which behaves in a certain way today, makes history tomorrow, and this is 'folk'. Chapter Two entitled 'AFRO-AMERICAN FOLKLORE', discusses Black music that developed in the U.S.A. after the Africans were imported to America as slaves. They created their own music, which included work songs, field hollers, spirituals and the blues. Their music had certain characteristics where melody, harmony, singing styles, group singing, handclapping and percussive effects were concerned. The third chapter entitIed 'THE PRESENCE OF AFRO-AMERICAN FOLKLORE IN PORGY AND BESS', is an analysis of the music. The folk elements of the opera are exposed and then aligned to the Negro lifestyle discussed in the previous chapter. Chapter Four entitled 'A SOCIOLOGICAL APPROACH', discusses white 'folk' teaching Black 'folk' how to do what they do naturally. The views of the performers, the criticism of the press and the reaction of the audience are also included. The appendices comprise two interviews; one with the original 'Porgy' and the second with the original choral director of Porgy And Bess, who claims to have translated the dialect of standard English into a negro style flavour. / Thesis (M.Mus.)-University of Natal, Durban, 1993.

This dissertation is a study of the Afro-American oral tradition with special reference to the formal aspects of the poetry of spirituals. In the introduction. an attempt has been made to take a look at the value of oral tradition; the interplay between oral and written tradition; the use made of orality in a society that was denied conventional literacy; the concept and the definition of the term, “spiritual". The organization of the rest of the essay is as follows: The sections are divided into four chapters. The first chapter concerns the origins of Afro-American spirituals and the anthropological foundations of the Afro-American oral style (anthropology of gesture). In addition, an attempt has been made to place the Afro-American oral tradition vis-a-vis the African oral tradition. The second chapter deals with key characteristics in the expressive phase of the Afro-American slave community with special reference to the dynamics of language usage. In the third chapter, there is consideration in some detail on the Afro-American oral composer and the transmission of the spirituals in an oral style milieu. The fourth chapter investigates stylized expression and is devoted to analyses of mnemotechnical devices within the spirituals. In the concluding chapter, an attempt has been made to take an overall look at Afro-American sacred poetic achievement. I must point out that it is not my intention to embark on any technical analysis of the music form and configuration of the spirituals - that is beyond the scope of this essay. In including "representative" samples of spirituals (and portions of spirituals), I do not intend them to be seen as "islands unto themselves" but rather, each spiritual must be seen as part of the whole corpus of Afro-American sacred oral composition. The question may arise: "Why a study of the Afro-American spirituals when there is so much to be studied on the oral traditions of Southern Africa? My response would be that the spirituals fascinate me for I see in them their widespread influence on the Pentecostal and Charismatic movements in South Africa. The Gospel song, so beloved of Pentecostal congregations, is an heir to the Spiritual. An enquiry on the sacred music and performance styles (improvisation, extemporization, dance, handclapping, shouts, etc.) of Pentecostalism will reveal that much of the Afro-American oral style still exists within the fellowship of Black and, venture to say, all Pentecostal churches in South Africa with obvious nuances that vary from denomination to denomination. But, the spirited and lively sacred music is encouraged and preserved. / Thesis (M.A.)-University of Natal, Durban, 1991.

Thesis--Columbia University. / Without thesis statement.