The purpose of this research was to explore the fundamental elements that constitute, shape and define the thinking and creative processes embodied in musical style of ten prominent South African jazz pianists. The study was qualitative and underpinned by an exploratory research design. Using a collection of case studies, the study used semi-structured interviews to probe participants’ backgrounds, formative influences, and musical style within a South African context. An analysis of the findings resulted in the emergence of three main themes, namely; Developing a musical identity; Negotiating a personal style; and, Finding the South Africanness in jazz. The first main theme outlined the core influences that shaped the participants’ earliest conceptions of musical style, and thus their developing identities. Family members: modelling their parents’ and siblings’ musical interests, immediate environment, interacting with professional jazz musicians, and the socio-political environment, were found to be highly influential. Other factors included; learning which happened through formal, informal, social and self-directed. Listening and musical preferences were also found to be key to the forming identities of the pianists. The second main theme reflected a progression from an ‘outward’ technical understanding of style to an assimilated ‘inner’ one. The first manifested in the descriptions of noticeable elements in jazz music that have been shaped over time, while the second describes ways in which the pianists’ individual social and cultural experiences inform their musical styles. The third theme highlights participants’ challenge in defining a South African style, resulting in a need to conceptualise a term(s) that would better describe the nature of the music. South African works were found to be at the core of acquiring an understanding of the musical styles of South African jazz pianists. External influences within the South African musical style, and idiosyncratic features based on indigenous musical influences were key to the musical identities of South African jazz pianists. Furthermore, understanding the metanarratives that serve as creative inspirations for these compositions is vital. The study concludes that a South African jazz style represents an amalgam of internal and external musical influences, evolving over time. The incorporation of eclectic musical elements from the indigenous ‘musics’ of the various South African ethnic cultures add an inimitably South African articulation and prosody to the jazz language. The unique histories and narratives of South African jazz pianists have resulted in their distinct approach to the jazz style. / Thesis (DMus)--University of Pretoria, 2019. / Music / DMus / Unrestricted

The dissertation researches the contemporary jazz vocalist Kurt Elling. His background, performing career and successes are explored before his artistry as a performer and pedagogue are examined in detail. A personal Skype lesson and a personal interview form part of the research material. Elling’s improvisatory art and his relationship with and opinions on scatting, and especially jazz vocalese are portrayed. To this end the author’s transcription of Elling’s vocalese based on Downtown (by Russel Ferrante) is included. Elling’s influence, creativity, spirituality and infusion of poetry into jazz are also investigated in order to show how he inspires audiences and students alike. The history of, and general descriptions of various jazz vocal styles are traced, whereafter the situation regarding the jazz vocal scene in South Africa is outlined. Local jazz vocal teaching in particular, and associated problems are discussed, and recommendations made. The author utilises her background as an accomplished performer and teacher to infuse these discussions with personal insights. Elling’s opinions on how cultural and ethnic differences can inspire South African jazz vocalists are also delineated. / Dissertation (MMus)--University of Pretoria, 2014. / lmchunu2014 / Music / unrestricted

This dissertation analyzes the South African musical, King Kong, and its resounding impact on South African society throughout the latter half of the twentieth century. A “jazz opera” based on the life of a local African boxer (and not the overgrown gorilla from American cinema), King Kong featured an African composer and all-black cast, including many of the most prominent local musicians and singers of the era. The rest of the play’s management, including director, music director, lyricist, writer and choreographer, were overwhelmingly white South Africans. This inter-racial collaboration was truly groundbreaking in a nation where apartheid was officially enacted a little over a decade prior to King Kong’s 1959 debut. Relatively apolitical in its message, King Kong proved accessible to South African audiences regardless of race or background, and became overwhelmingly lauded as an endeavor that all of the country could enjoy and cherish. The musical successfully toured South Africa’s major metropolises, often to sold-out crowds. Its domestic success later spurred a tour of Britain in 1961, making it the first major South African theatrical production to be staged abroad. Due to the multi-racial efforts behind King Kong, its success and the high quality of its performers, the musical initiated a new era in South African music and theatre for decades to come. Despite being based around King Kong, this dissertation contextualizes the production, as it uses King Kong’s creation, development and legacies to further analyze larger themes within South African and global histories. Each chapter, as a result, examines the evolution of the musical from the life story of the boxer from which the play is based, the musical’s making and tour of South Africa, the play’s 1961 tour of the United Kingdom, the experiences of the black casts in exile, and the failure of the play’s 1979 remake. By examining the play, its cast, and their collective legacies both in South Africa and further afield, this project complicates our understanding of the Black Atlantic framework by infusing Africans as active participants in these transnational discussions. / text

This dissertation analyzes the South African musical, King Kong, and its resounding impact on South African society throughout the latter half of the twentieth century. A “jazz opera” based on the life of a local African boxer (and not the overgrown gorilla from American cinema), King Kong featured an African composer and all-black cast, including many of the most prominent local musicians and singers of the era. The rest of the play’s management, including director, music director, lyricist, writer and choreographer, were overwhelmingly white South Africans. This inter-racial collaboration was truly groundbreaking in a nation where apartheid was officially enacted a little over a decade prior to King Kong’s 1959 debut. Relatively apolitical in its message, King Kong proved accessible to South African audiences regardless of race or background, and became overwhelmingly lauded as an endeavor that all of the country could enjoy and cherish. The musical successfully toured South Africa’s major metropolises, often to sold-out crowds. Its domestic success later spurred a tour of Britain in 1961, making it the first major South African theatrical production to be staged abroad. Due to the multi-racial efforts behind King Kong, its success and the high quality of its performers, the musical initiated a new era in South African music and theatre for decades to come. Despite being based around King Kong, this dissertation contextualizes the production, as it uses King Kong’s creation, development and legacies to further analyze larger themes within South African and global histories. Each chapter, as a result, examines the evolution of the musical from the life story of the boxer from which the play is based, the musical’s making and tour of South Africa, the play’s 1961 tour of the United Kingdom, the experiences of the black casts in exile, and the failure of the play’s 1979 remake. By examining the play, its cast, and their collective legacies both in South Africa and further afield, this project complicates our understanding of the Black Atlantic framework by infusing Africans as active participants in these transnational discussions.

MAAS / Department of Music.