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Opera in South Africa during the first democratic decadeMeredith, Ivan January 2006 (has links)
The author set out to investigate operatic works that were written in South Africa between 1994 and 2004. Original works that included African elements were of interest as was their classification as operas, musical theatre or music drama. Their artistic merit and the process followed in writing successful works in this genre were investigated. Not only was the collaboration between composer and librettist scrutinised, but also the initial stage during which the conception for these theatrical works took shape. Due to the empirical nature of the research, data was collected mostly via interviews held with composers, librettists, directors and conductors of original works written and performed in the said period. The data is presented in six chapters, each one providing a full description of casting details, synopses and brief analyses of the works. In the Preface the premise upon which the research rests is discussed, while the Introduction serves to highlight various issues concerning modem opera and fusion works that have played an important role in providing the groundwork for contemporary ethnic opera in this country. Original works are discussed in each chapter, and a critical evaluation is presented in an Appendix. The author concludes that much effort was expended by pioneers in the fields of music, theatre and dance to create new works and organise performances. What emerged, furthermore, was that many of the works analysed could not be categorised as 'opera' but rather as 'musical theatre' or 'music drama'. It would also seem that uninitiated audiences first need to be made conscious of the aesthetic value of the genre before they may be able to appreciate it. Operatic production companies have always been at the forefront when it comes to decision - making regarding which and whose work shall be performed. Funding is crucial to the success of any production and plays an equally important role in eventually determining a positive outcome. This aspect has, therefore, also been included as part of the research project.
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Kritiese waardebepaling van Mimi Coertse (1932-) se bydrae tot die uitvoering van die Afrikaanse kunsliedGerber, Marelize 05 1900 (has links)
Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die
Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die
ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid-
Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig.
'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel
van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied
deur resensente, kollegas en vriende word bespreek.
Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke
Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur
komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere
wat deur Coertse opgeneem is, word geboekstaaf.
Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin
Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n
uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to
the execution of the Afrikaans art song. The art song is defined and its
development in the history of Western music and in South Africa analysed. The
principal composers are highlighted in both instances.
An overview is then provided of the life and career of Mimi Coertse. A
comprehensive table of general comments on Coertse's execution of the
Afrikaans art song by critics, colleagues and friends is discussed.
This is followed by critics' comments on Coertse's performance of specific
Afrikaans art songs. The Afrikaans art songs that composers dedicated to
Coertse as well as the list of Afrikaans art songs recorded by Coertse are
chronicled.
Coertse's career as a performer of the art song coincided with a period in which
Afrikaans as a language and Afrikaans culture blossomed. She found a medium
of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts & Musicology / M. Mus.
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Kritiese waardebepaling van Mimi Coertse (1932-) se bydrae tot die uitvoering van die Afrikaanse kunsliedGerber, Marelize 05 1900 (has links)
Text in Afrikaans / In hierdie studie word Mimi Coertse se bydrae tot die uitvoering van die
Afrikaanse kunslied in diepte ondersoek. Die kunslied word omskryf en die
ontwikkeling van die kunslied in Westerse kunsmusiekgeskiedenis en in Suid-
Afrika word ontleed. Die belangrikste komponiste word gevalle uitgelig.
'n Oorsig van Mimi Coertse se lewe en loopbaan volg hierna. 'n Volledige tabel
van algemene opmerkings oor Coertse se uitvoering van die Afrikaanse kunslied
deur resensente, kollegas en vriende word bespreek.
Dit word gevolg deur opmerkings oor Coertse se uitvoering van spesifieke
Afrikaanse kunsliedere deur resensente. Die Afrikaanse kunsliedere wat deur
komponiste aan Coertse opgedra is, sowel as die lys van Afrikaanse kunsliedere
wat deur Coertse opgeneem is, word geboekstaaf.
Coertse se sangloopbaan as kunsliedsangeres val saam met 'n tydperk waarin
Afrikaans as taal en die Afrikaanse kultuur gedy het. Sy het in Afrikaans 'n
uitdrukkingsmedium gevind wat haar die naaste aan die hart gele het. / This study involves an in-depth investigation into Mimi Coertse's contribution to
the execution of the Afrikaans art song. The art song is defined and its
development in the history of Western music and in South Africa analysed. The
principal composers are highlighted in both instances.
An overview is then provided of the life and career of Mimi Coertse. A
comprehensive table of general comments on Coertse's execution of the
Afrikaans art song by critics, colleagues and friends is discussed.
This is followed by critics' comments on Coertse's performance of specific
Afrikaans art songs. The Afrikaans art songs that composers dedicated to
Coertse as well as the list of Afrikaans art songs recorded by Coertse are
chronicled.
Coertse's career as a performer of the art song coincided with a period in which
Afrikaans as a language and Afrikaans culture blossomed. She found a medium
of expression in Afrikaans that was closest to her heart. / Art History, Visual Arts and Musicology / M. Mus.
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The men in our living room : masculinities and the struggle for a 'new' South African hegemony in 'Egoli: place of gold' 1994Jonker, Francois 03 1900 (has links)
Thesis (MA)--Stellenbosch University, 2015. / ENGLISH ABSTRACT: In this study I analyse the 1994 episodes of the popular soap opera Egoli: Place of Gold that coincide with the so-called ‘birth’ of the New South Africa. This moment in media history is characterised by a heightened sense of anticipation surrounding Egoli as the first local soap opera created by Franz Marx at the pinnacle of his career for the relatively new – and only – independent broadcaster in the country, M-Net. Because of the reliance of this genre on perceived realism, Egoli offers a historically significant televisual mediation of the widespread social and political changes that mark this particular period. I argue that the soap opera elicits a non-critical passive spectatorship and should therefore be regarded as a ‘readerly’ medium that transmits a form of pre-negotiated textual hegemony directly into the intimacy of the domestic viewing space. While acknowledging an awareness of the pivotal role played by white Afrikaans men in the safeguarding of cultural hegemony up until this historical juncture, my study diverges from the wealth of research on soap opera as a women’s medium and approaches Egoli with an interest in the programme’s construction of masculinities. An analysis of three contrasting male characters investigates Egoli’s formulation of a social matrix that reflects not only the programme’s attitude towards gender, but also to social power, class and race. I conclude that this specific soap opera lacks the ability to produce or reflect radical change. Egoli merely serves to reiterate the affirmation of the hegemony of an established order of Afrikaner patriarchy on a superficial level. / AFRIKAANSE OPSOMMING: In hierdie studie analiseer ek die 1994 episodes van die populêre sepie Egoli: Plek van Goud wat afspeel tydens die sogenaamde ‘geboorte’ van die Nuwe Suid-Afrika. Hierdie oomblik in media-geskiedenis is gekarakteriseer deur ‘n verhoogde gevoel van antisipasie rondom Egoli as die eerste plaaslike sepie, vervaardig deur Franz Marx tydens die toppunt van sy loopbaansukses vir die relatief nuwe, en enigste onafhanklike uitsaaidiens in die land, M-Net. Vanweë hierdie medium se afhanklikheid op skynbare realisme, bied Egoli ‘n waardevolle historiese televisuele vertolking van die verrykende sosiale en politiese veranderinge van hierdie tydperk. Ek argumenteer dat die sepie ‘n passiewe kritiekloosheid in kykers uitlok en daarom as ‘n ‘leeslike’ teks benader moet word, wat ‘n reeds-onderhandelde hegemonie direk in die intimiteit van die huishouding oordra. As gevolg van die bewustheid van die kritieke rol wat deur blanke Afrikaanse mans vervul is in die beveiliging van kulturele hegemonie tot en met hierdie historiese moment, wyk my studie af van die veelvuldige navorsing oor die sepie as ‘n vroue-medium en benader ek Egoli met ‘n fokus op die konstruering van manlikheid. ‘n Analise van drie kontrasterende manlike karakters ondersoek Egoli se formulering van ‘n sosiale matriks wat nie alleenlik die program se benadering tot geslag blootlê nie, maar so ook tot sosiale mag, klas en ras. Ek sluit af met die bevinding dat dié sepie ontbreek in die vermoë om radikale verandering aan te spoor of te weerspieël. Egoli slaag slegs daarin om op ‘n oppervlakkige wyse die hegemonie van ‘n gevestigde Afrikaner patriargale orde te bevestig en te reproduseer.
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Images of nature in recent South African printmaking and ceramics.Rall, Michelle. January 2000 (has links)
This dissertation considers nature imagery in selected South Afiican ceramics and printmaking. The main focus is on ecological issues in recent art productions. The text consists of five chapters. The first examines the ideologies of Fritjof Capra in relation to issues about deep ecology and ecofeminism; this chapter seeks to clarify the scope of the words 'land' and 'landscape' as used in a late 20th century context. The second chapter examines some historical works and ideas that have influenced perceptions of nature imagery in South Afiica. Chapters three, four and five constitute the main body of the thesis, and examine nature imagery in selected examples of contemporary printmaking and ceramics. Chapter three investigates selected landscape images ofceramist Esias Bosch and printmakers Gerda Scholtemeijer and Kim Berman. In chapter four the focus is on the flora as the point of reference. Prints of Gerhard Marx, Douglas Goode, EIsa Pooley and Karel Nel, who were all participants in the Art meets Science: Flowers as Images exhibition, will be examined. Important issues such as the separation ofbotanical and fine art, and art and science will be discussed with reference to their work. This will be followed by discussion of works of Susan Sellschop (a ceramic mural) and Bronwen Jane Heath (a wood engraving) in order to demonstrate the different intentions and outcomes ofthese to artists. Three dimensional works of the three ceramists, Lesley-Anne Hoets, Samantha Read-and Katherine Glenday are discussed in the final section of chapter four. Chapter five examines the interrelationship oflandscape and land. This chapter comprises two main sections. The first deals with aspects of landownership in South Africa reflected in recent ceramics and printmaking. Examples of the work of Marion Arnold and Ellalou O'Meara reinterpret images of early explorers and colonists situating them in a contemporary arena, demonstrating connections between past and present. Landownership is the overt subject in the Fee Halsted Berning, whose ceramic relief panel reflects a different perspective of landownership from the prints ofthe Schmidtsdrift artists. The second section surveys work of four artists whose images draw attention to ecological matters. Wendy Ross, Diana Carmichael, Marion Arnold and Carol Hofrneyr create images that higWight different aspects of the fragile balance of nature. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2000
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The influence of early Apartheid intellectualisation on twentieth-century Afrikaans music historiographyVenter, Carina 12 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly
premised on the assumption of complicity as an interpretive frame in which the
relationship between Apartheid intellectualisation and Afrikaans music historiography
can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd,
Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four
chapters, I attempt to construct metaphors, points of intersection or articulation
between Apartheid intellectualisation and Afrikaans music historiography. Music is
never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie
Eloff musical metaphors become ways of enunciating racial theories, for the Dutch
musicologist Jan Bouws music provides entry into South Africa and its discourses, for
J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa
Nepgen music constitutes the perfect domain for and the gestating impulse of her own
often ornate national devotions. Some of the themes addressed in this thesis include
the language and metaphors of Apartheid intellectualisation, discourses of paranoia,
struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the
cultural language of Afrikaner nationalism and the reciprocity between cultural
fecundity and dominance of the land. The final denouement comprises a positing of
the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who
emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of
its fate and future. / AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van
komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding
tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan
word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F.
Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van
die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen
Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer.
Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey
Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras
geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek
toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal
waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die
ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge.
Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en
metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid,
kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en
die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die
tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O
Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die
bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van
die volk se lot en toekoms.
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Hendrik Hofmeyr : lewe en werk, 1957-1999Roos, Hilde 04 1900 (has links)
Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957
until July 1999. The discussion on his life focusses on the events that influenced the
establishment of his works and also those that had an effect on the style in which
Hofmeyr composes. Although he experienced a steady development and growth as a
composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen
Elisabeth of Belgium Composition Competition can be mentioned as major influences
on his life and thus on his work.
Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of
his music, it is important to know something of Hofmeyr's approach to music. The
chapter concludes that Hofmeyr can be described as a 'romantic' composer which
provides the reason why he has always been outspoken against the avant-garde
which characterises much of the artmusic of the zo" century.
The style analysis of the following chapter looks at three important parameters of any
composer's style: harmony, melody and form. It further also discusses Hofmeyr's
use of counterpoint and the specific playing techniques he requires of instruments.
These two aspects stand out as particular to the composer's style. Due to the scope
of the thesis, these aspects are dealt with in a limited way.
A more detailed discussion of two compositions follow, the song cycle Alleenstryd
and the String Quartet. Besides an analysis of both works, attention is also given to
how the composer's ideas on music are manifested in these works. The thesis
concludes with a detailed list of works including all works composed up to July 1999.
50 compositions are listed. To allow for maximum exposure of each work, the
duration as well as a description of each work are added to the otherwise standard
information. / AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy
geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig
om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en
die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy
groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin
Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig
word.
In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en
gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie
uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking
gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy
studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek
kenmerk.
Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van
enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se
gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente
verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis
se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte
redelik beperk.
In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus
Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van
hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se
uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n
volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50
werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting,
ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.
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How to paint a highway: documenting non-placeVan Huyssteen, Wessel Hendrick January 2017 (has links)
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Fine Arts, 2017 / The central question I want to ask in this dissertation is: How to paint a highway? It sounds simple, but considering all that highways represent, the answer is anything but straightforward. The motivation for this study came about due to my travels on the N1 between two of my homes - one in Johannesburg, Gauteng, and the other in Rosendal, eastern Free State. [No abstract provided. Information taken from introduction]. / XL2018
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The Western canon in a multicultural education system for South AfricaMeyer, Beryl Patricia 28 May 2014 (has links)
This report confronts the issue of the globalisation of European culture and its
significance for the Western canon in South African education. It considers the difficulty
of defending the canon as cultural resource for a local minority while avoiding the
imposition of the globally dominant Anglophone culture on all South Africans.
It is argue-d that whatever in the canon can be freely accepted as advancing the interests
of all South Africans should qualify for inclusion in a common curriculum, but that other
canonical works should be regarded as minority culture in the same way as aspects of
traditional African culture. An attempt is made to establish a perspective from which
Africanism and the defence of the canon can be seen as congruent and compatible aims,
equally deserving of accommodation within a multicultural curriculum.
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The relationship between repetition and originality : selected paintings of Robert HodginsCohen, Robyn Yael January 1990 (has links)
A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, for the Degree of Master of Arts in Fine Arts. / This dissertation investigates a particular use of repetition (and `quotation`) in the artistic method of Robert Hodgins, and the pedagogical significance of this method for the author. (Abbreviation abstract) / AC2017
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