Hendrik Hofmeyr is a prolific South African composer, who has written well over 150 works to date. Many of these compositions were commissioned for performers such as the British duo Nettle & Markham, the Hogarth Quartet and the Latvian youth choir Kamer. Sinfonia africana was composed in 2003, as a commissioned work for the Vriende van Afrikaans. Sinfonia africana is a large-scale work scored for solo soprano, choir and orchestra. It consists of three movements, each based on a different poem: The first movement is based on Marais’s Die Lied van Suid-Afrika, while the middle movement uses Opperman’s Gebed om die Gebeente, with the third movement concluding Sinfonia africana with van den Heever’s Afrika. Both the second and third movements of Sinfonia africana are related to earlier Hofmeyr compositions, namely the 1999 chamber work Gebed om die Gebeente and the 2001 choral work Afrika. This study aims to identify, analyse and discuss the basic elements of music found in the three movements of Sinfonia africana, as well as in Gebed om die Gebeente and Afrika. The various elements of music that constitute compositional and stylistic techniques are: text, structure, pitch, harmony, rhythm, texture, timbre, dynamics and articulation. These elements of music will be compared with each other in the various movements of Sinfonia africana, as well as in Gebed om die Gebeente and Afrika, to determine their contribution to Hofmeyr’s compositional and stylistic techniques as a whole. / Dissertation (MMus)--University of Pretoria, 2015. / Music / Unrestricted

The piano sonata’s prominent position in Western art music is reflected in both its long history and its presence in the oeuvres of composers from across the globe. While some information on piano sonatas by South African composers has been included in academic literature, no comprehensive research has been done in the field. This lacuna is addressed in this thesis of which the main research strategy is analytical, without precluding other data-collection methods such as literature studies, archival research and consultation with composers. The thesis comprises an introductory chapter with background information and an outline of the principal research aim and objectives; a general literature review of scholarly work in the field; a summary of academic literature on solo piano sonatas by South African composers; detailed analyses of two recent and diametrically opposed 21st-century solo piano sonatas, by Hendrik Hofmeyr (1957- ) and Graham Newcater (1941- ) respectively; and a final chapter with concluding remarks. Detailed catalogues of sonatas by South African composers, for piano as well as for other instruments, are included as appendices. Findings show that in correspondence with international trends, the piano sonata has held a prominent role in South African music-making with more than 230 works completed since 1900. A chronological estimation shows a more-or-less gradual increase in the number of sonatas composed up to 1975. 30 works were finalised between 2006 and 2015, suggesting that many contemporary composers continue to reference sonata structures as a guiding principle in largescale forms. The characteristics of the majority of sonatas analysed and those discussed in the literature summary correlate to some extent with 19th- and 20th-century traditions. There are nevertheless also various exceptions and novel explorations of traditional sonata practices. From a stylistic perspective, the works engage with a range of international aesthetic discourses, constantly repositioned within the post-colonial, South African zeitgeist. The sonata’s prominent position in South African art music is not only reflected in the historically high frequency of its use, but also in the ways the sonata paradigm is continuously being reinvented, deconstructed and developed to reflect the country’s idiosyncratic and dynamic cultural identity

The poet of this cycle, Sydney Vernon Petersen, was a man who faced great adversity during Apartheid. The title of this cycle, Alleenstryd, is an Afrikaans term for 'a struggle alone.' Petersen was of mixed heritage or "Coloured" and born in South Africa in 1914. He died in 1987. His most important works in Afrikaans poetry were published between 1948 and 1965. This cycle specifically focuses on the relationship between the poet and his community, the isolation he endured within that community, the depths of despair he felt and how he overcame those obstacles to finally achieve a sense of self-worth. This group of poems, first published as an anthology by Tafelberg Press in 1979, became the source of inspiration for the composer Hendrik Hofmeyr. The purpose of this research is to identify the significant social, political and musical influences on the composer which contributed to the composition of Alleenstryd (1996), especially the significance of his self-imposed exile. Also, the Afrikaans language, a derivative of 17th century Dutch, is a language dear to its speakers but not widely accessible or familiar to most other nations. Hopefully this research will provide more information and make the language, its composers and the story of the dark history surrounding Apartheid and specifically the individuals who excelled through hardship, available to more people.

The aim of this study is to identify the main differences in compositional style in selected chamber music works by Hendrik Hofmeyr (Sonata per Flauto e Pianoforte, Sonata per Clarinetto e Pianoforte and Sonata per Violoncello e Pianoforte) and Alexander Johnson (Imicabango for flute and piano, Three Incantations for flute, clarinet and piano, and Khalagari for flute and piano). After a thorough analysis of the melodic-, harmonic-, rhythmic-, and structural elements, it was clear that the two composers’ composition style is different from one another. Differences can be identified under the following main points: form structure, melodic and harmonic content, recurring motives and texture. Hofmeyr makes use of traditional form structures, such as sonata form, ternary form, and theme and variations. Johnson does not use traditional form structures and makes use of free form structures, such as: A1-A2-A3-A4-A5- A6-A7 (second movement from Khalagari), ABABC (third movement from Three Incantations), and A1-A2-B-A3-closing section (first movement from Three Incantations). The first movement from Khalagari is the only movement where references to sonata form can be found. Hofmeyr uses existing modes and scales in his works. Both his Sonata per Flauto e Pianoforte and Sonata per Violoncello e Pianoforte contain numerous examples where he makes use of the octatonic scale and the phrygian mode. Examples of the hexatonic scale can be found in the first and second movements of the Sonata per Clarinetto e Pianoforte. Hofmeyr’s chord structures are also based on these scales and modes. Alexander Johnson does not use any of the above-mentioned scales, but rather makes use of his own scale (labeled as the “Johnson-scale” in this study). His chord structures are also based on this scale. Hofmeyr does not use themes and motives from other compositions in the three works in this study. He does however combine themes from earlier movements within a composition. Examples of this can be found in the third movements from Sonata per Flauto e Pianoforte and Sonata per Clarinetto e Pianoforte. Johnson combines motives and themes from other compositions in his works. Motives from Three Incantations can be found in Khalagari. A detailed summary can be found in the conclusion of this study. / Thesis (DMus)--University of Pretoria, 2014. / tm2015 / Music / DMus / Unrestricted

Hendrik Hofmeyr is considered one of the most important and influential living composers in South Africa. His music for solo saxophone is not well-known in the classical saxophone repertoire. His four works for solo saxophone (Concerto per saxofono contralto e orchestra, Concerto per saxofono baritono e orchestra, Partita canonica, and Necromancer) are substantial and terrific repertoire for the instrument. This study is intended to inform a saxophone performer's understanding of these compositions through analysis of form, melodic, and harmonic content relevant to performance; and, demonstrate through example the conclusions determined by the analysis about apparent compositional techniques in the music.