Spelling suggestions: "subject:"ngqoko women's ensemble"" "subject:"ngqoko women's d'ensemble""
1 |
Ngqoko throat singing: the search for an effective musical notationTracey, Kerryn Ann 02 September 2009 (has links)
M.Mus. Faculty of Humanities, University of the Witwatersrand, 2008 / This report forms part of the output of a research team investigating the phenomenon of overtone singing as practiced by the women of the Ngqoko Women’s Ensemble in the village of Ngqoko outside the town of Lady Frere in the Eastern Cape, South Africa. This essay examines various systems of musical notation in terms of their possible application in the transcription process of overtone singing as found amongst these women. A selection of their music is transcribed using the formulated notational systems and the effectiveness of these systems is compared. A recommendation as to which system of notation is most effective for documenting this type of music is made. Utilising the soundworld of the Ngqoko recordings, an original piece of music is composed as part of this submission.
|
2 |
Saying it with music: a theoretical exploration of musical encoding with reference to Western art music and the songs of the Ngqoko womenJankowitz, Christo 26 November 2012 (has links)
MA, Faculty of Humanities, University of the Witwatersrand, 2012 / This research-report presents a theoretical exploration of musical encoding which
has its basis in general semiotic theory. By examining what this reveals about the
problematic and mysterious issue of music’s meaning, I argue that the most
visceral and direct form of it is found in the manner in which the composer
shapes a certain kind of temporal experience (erlebnis) which is engendered by
the music itself. This reveals that sensations of goal-directed movement, closure,
tension and release are shaped in a phenomenological way against a
background of continuity that is established by metrical cyclicity and phrasal
periodisation. As a result, the interpretation of certain kinds of accumulative
structural effects generated by the gestural (rhythmic and melodic/harmonic)
inflections of the temporal and intonational planes become meaningful in a
rhetorical, affective (affekten) and topical sense. A study of Ngqoko (Xhosa)
overtone-music, as a case study into African indigenous music (as opposed to
the examples cited of Western art music), shows that an intensification of the
relationships between pitch and rhythm that exist in speech-tone results in the
formation of melody and a culturally embedded vocabulary of intonations. I argue
that this resultant edifice exists in the music of most cultures and that this
ultimately serves as the basis of musical encoding. Therefore musical meaning
develops in ways that are completely intrinsic to music.
|
Page generated in 0.0577 seconds