No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1999.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1987.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1996.

No abstract available. / Thesis (M.Mus)-University of Natal, Durban, 1984.

During the mid-thirties, a tradition of music-making began amongst South Africans of Indian origin that dominated the cultural life of the majority of Indian South Africans for about forty years. This study concerns itself with the ways in which this tradition - the Indian orchestral tradition as it is referred to by its participants was practised amongst Indian South Africans in Durban. The study examines the factors that created and sustained the tradition. Areas that come under focus during the course of the presentation include: the contributions made by individual personalities and institutions to the development of Indian popular music generally, and to orchestras. specifically; the various locations in and around Durban where this type of music-making was most prevalent; and the manner in which environmental factors affected the development of orchestras. The theoretical basis for this research has been drawn from principles in oral history and ethnomusicology. The study locates the orchestral tradition within Eric Hobsbawm's understanding of traditions and of the ways in which they are created and perpetuated. Further, since the presentation involves the extensive use of oral evidence, photographs, posters and related memorabilia, Paul Thompson' s methods of collecting and interpreting such data are used. / Thesis (M.Mus.)-University of Natal, Durban, 1996.

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.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban,1994.

This ethnographic study concerns itself with the role that local rap performance plays in either reinforcing or challenging perceptions of 'race' amongst the participants of hip-hop culture in Durban, South Africa, and what this implies for the prospects of reconciliation. Using Cohen's (1989) theory of community and Grossberg's (1996) theory of affective alliances, I explore the ways in which music may create and maintain differences and commonalities between groups of people. It is my hypothesis that genre conventions and connotations, and the discourses that circulate about rap music (for example, rap music as a form of expression particular to the 'black Atlantic' diaspora and conditioned by a racially segregated society [Rose 1994]), allow hip-hop to either reinforce or challenge participants' perceptions of 'race'. I examine how musical and lyrical utterances thrust into a semantic historical and socio-political context limit how rap performance can mean and how, as a dialogic speech genre, rap can uphold, subvert or negotiate its genre associations, including, through the use of double-voiced discourse, dominant ideas concerning 'race' and cultural identity. Acknowledging the idiom as of a form of black cultural expression (Rose 1994), interviewees mention narratives of hip-hop's historical origins, rap artists' use of Five Percenter and Black Nationalist ideologies, and poverty, as factors that either reinforce or challenge notions of 'race'. The simultaneous transgression of and/or adherence to, racialized space and spatialized 'race' (Forman 2002) by different 'races', as well as the presence or absence of multilingualism, are viewed as indicators of the level of commitment to the notion of a democratic place for all 'race' and language groups in post-apartheid South Africa. It is the aim of this thesis to add to the body of knowledge concerning the nature of our post-apartheid identities, what influences them and in what way. And in a broader context, to explore the role of music in societies in transition and the role it might play in facilitating an ability to 'imagine culture beyond the colour line' (Gilroy 2000). / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2008.

This research investigated what the musical characteristics of mwomboko music were, what its social characteristics were in terms of performers, listening, venues and class relations to what extent this music functioned as a means of engendering feelings of personal empowerment under conditions of social exclusion and how this music functioned as a catalyst for social cohesion. This study is necessary for it may contribute to the further study of the mugithi one-man guitar performance. I worked with the theoretical approach that music can create or maintain social cohesion. I also looked a how it can contribute to group solidarity and so increase the effectiveness of collective action. I am worked with the theory of social cohesion through music which works with the idea that music can be used as an avenue to create a sense of belonging to a group or community. Through the affirmation of the society's identity music also ended up affirming the individual 's identity. While this study specifically focused on mwomboko music within mugithi performance style there were factors that had and continued to influence this type of music's performance and growth. This study shall try to investigate ways in which the development in Kenya influenced music's role in social identity, why music is used as a channel for social cohesion and the issues that bring up ethnic identity within multicultural urban setting. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2010.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004). The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer. Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece. Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music. The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static. Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias). / AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004). Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering. Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie. Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie. Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties. Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).