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Die begeleide vioolsonate in Suid-Afrika : die bydraes van Temmingh, Klatzow en HofmeyrTheunissen, Tricia 12 1900 (has links)
Thesis (MMus) – Stellenbosch University, 2014. / ENGLISH ABSTRACT: The sonata for violin and piano has a well-deserved place within chamber music in South Africa. It has always been one of the most prominent chamber music genres within Western art music. Between 1800 and 1900 this genre took up 21% of all composed sonatas at the time. This study provides insight into the situation in South Africa about 100 years later and it provides a critical text analysis of three violin sonatas by three of the most prominent composers of art music in South Africa. These composers are Roelof Temmingh (1993), Peter Klatzow (1996) and Hendrik Hofmeyr (2008). These are the only sonatas for violin and piano written by these three composers. There is a limited amount of violin sonatas in South Africa. A list acquired from SAMRO, statistically the most reliable source of worklists in South Africa, contains only eleven sonatas for violin and piano. These do not even include the violin sonatas of Temmingh and Hofmeyr. The limited amount of sources forces a unique aspect of research method, namely conversations with two of these composers themselves (Klatzow and Hofmeyr). This primary source of information from the two living composers assisted in the analysis of the music. European influences can be seen in all three of these sonatas. The three composers adapt and transform the music to fit their individual use of sonata form. Each of these three works contains three movements, as is customary with traditional sonata form. The second movements function as intermezzi, that leads the narrative through from the first to the last movement. Each of the three composers have their own unique sense of tonality and thematic use. Temmingh uses a main theme that resurfaces throughout the three movements – leading the whole work to sound like one large movement. Klatzow uses complicated thematic structures and thick textures. From these thematic material he extracts smaller parts later in the movement to recapture the essence of the main theme complex and to add unity to the work as a whole. Hofmeyr uses carefully planned structures and this makes his sonata the most structured of the three. His textures are thick and his tessituras are wide, and he is the only one of the three composers who uses key signatures. Like Temmingh he also makes use of a main motto-theme that resurfaces in the last movement adapted to fit the movement’s structure.
In terms of the traditional use of form structure these three sonatas fit the 19h century conventions. The main outcome of this study is to introduce these works to especially the younger generation of performers in South Africa. / AFRIKAANSE OPSOMMING: Soos menige ander kunsmusiek-genre het ook die (begeleide) vioolsonate ‘n stewige plek in die Suid-Afrikaanse musiek verkry. Die sonate vir viool en klavier is een van die mees prominente kamermusiek-genres in Westerse kunsmusiek. Tussen 1800 en 1900 was soveel as 21% van alle sonates, werke vir viool en klavier. Dit is dus van spesiale belang om kennis te neem ten opsigte van hierdie situasie in Suid-Afrika ongeveer 100 jaar later. Die kern van hierdie tesis is ‘n stylkritiese teksanalise van drie Suid-Afrikaanse vioolsonates deur drie prominente Suid-Afrikaanse komponiste, nl. Roelof Temmingh (1993), Peter Klatzow (1996) en Hendrik Hofmeyr (2008). Met uitsondering van ‘n sonate vir solo viool deur Klatzow, is hierdie werke die enigste vioolsonates deur dié komponiste. Daar is ‘n beperkte aantal vioolsonates in Suid-Afrika. Selfs by SAMRO, wat ‘n aanvaarde statistiese bron van die werkslyste van komponiste in Suid-Afrika is, is daar slegs elf vioolsonates op rekord (dit sluit die vioolsonates van Temmingh en Hofmeyr uit). Die skaarste aan bronne wat oor dié onderwerp handel, dwing die navorser om onderhoude met die oorlewende twee komponiste te voer. Dit is uniek om musiek te kan bespreek met die komponis daarvan. Hierdie primêre bron van inligting vertoon unieke insigte, wat ‘n invloed op die analises van die musiek gehad het. Europese invloede is by al drie komponiste sigbaar. Die toepassings van die struktuurelemente van sonatevorm kom by al drie komponiste voor. Al drie werke is driedelig en die eerste bewegings is almal in aangepaste sonatevorm. Die tweede bewegings vorm deel van ‘n deurloop (ter ondersteuning van die narratief) na die laaste beweging toe en die laaste bewegings sorg by elke werk vir ’n unieke vorm van “konflikoplossing”. Al drie komponiste toon hul eie spesifieke sin vir tonaliteit en tematiek. Temmingh se sonate loop amper as ‘n eenbewegingstruktuur, deur middel van ‘n “motto”-tema, wat deurgaans in dieselfde toonsoort voorkom. Klatzow gebruik ‘n verskeidenheid teksture en tessiture, asook lang temakomplekse, waaruit sekere kleiner motiewe gehaal word om die musiek se eenheidsin weer te gee. Hofmeyr se uiteengesette vormplanne maak sy werk meer gestruktureerd. Ook by hom is die teksture omvangryk, maar sy gebruik van toonsoorttekens (wat afwesig is by die ander twee komponiste) vertoon nie deurgaans die toonsoort waarin die musiek werklik is nie. Hy maak ook van ‘n motto-tema gebruik. Die eerste beweging open daarmee en in die derde beweging keer dit in ‘n aangepaste vorm terug. In terme van die tradisionele Europese vormgebruike, kan hierdie drie vioolsonates onder 19de-eeuse kunsmusiek geklassifiseer word. Hierdie studie poog om ‘n bydrae te maak tot die bekendstelling van hierdie werke by veral jong musici in Suid-Afrika.
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Songwriting in adolescence : an ethnographic study in the Western CapeVan Rensburg, Adriana Janse 12 1900 (has links)
Thesis (D. Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of
adolescent songwriting phenomenologically to ascertain the implications for
music education. Secondary aims and research questions include ascertaining if
and to what extent songwriting in adolescence serves as medium for emotional
expression, self-therapy, socio-cultural cohesion and informal learning. Other
secondary research aims are establishing the quality of the creative product and
determining the implications for music education curricula in keeping with
current curriculum development strategies.
Adolescents’ engagement in music is considered as a socio-cultural
phenomenon. Individuals’ interaction with music is thus considered on Doise’s
(1986:10-16) four levels of social explanation: the intra-personal, the interpersonal,
the positional level and the ideological level. On the intra-personal level
music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy
and mood control and technology of the body. On the inter-personal
level music is discussed as a form of self-expression serving as communicative
form. On the positional level music’s role in bonding between individuals,
namely social cohesion, is expounded. Lastly, on the ideological level, music is
considered as part of youth, youth culture and cultural identity.
The compositional (songwriting) process is analyzed. Compositional modes,
individual and collaborative, are identified and described and the creative process
namely composing, is delineated according to creativity, creativity as social
formation, creativity as process and the role and nature of informal learning.
Adolescents use the process of songwriting to establish and enhance social
cohesion, to further communication and expression with peers and to exert
creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General
perspectives and theories about musical analysis are addressed to include a
broader, socio-cultural view of analysis to analyze adolescent music. The musical
and lyrical features are analyzed within the context of their socio-cultural setting.
The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an
evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of
popular music analysis are applied in combination with Goodwin’s (1992) soundimage
model, synaestesia, to expand on the socio-cultural context of popular
music analysis. The implications of musicology namely “formal music
education” versus popular music styles and the effects of formal and informal
learning strategies on songwriting are considered. A new understanding of
musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role
that locality plays in this analysis is expounded. The role of notation and playing
by ear is set out to validate the adolescents’ creative product.
The research methodology employed in this research include group discussion,
observation, experience sampling method (adapted from Larson &
Csikszentmihalyi, 1983) and individual interviews and are described according to
methodology, results and analysis of the results.
General perspectives on music education curricula are considered in light of the
possible contribution songwriting, as an informal learning activity, could bring to
music education as composition is currently a high priority in international music
education discourse and features prominently in current curricula.
Recommendations and conclusions are made. / AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf
in adolessensie fenomenologies te beskryf om sodoende die implikasies vir
musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in
die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir
emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer.
Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die
kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met
inagneming van huidige kurrikulumontwikkeling strategieë.
Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele
fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise
(1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die
inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike
vlak word musiek beskou as ‘n tegnologie van die self (DeNora,
2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n
tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek
bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm.
Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s.
sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg
as deel van jeug, jeugkultuur en kulturele identiteit.
Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele
metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die
kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit,
kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van
informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale
binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n
informele leeromgewing uit te oefen.
Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf.
Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n
breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese
eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO
Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie
prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van
populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se
klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van
populêre musiekanalise. Die implikasies van musikologie, “formele
musiekopvoedkunde” versus populêre musiek en die effek van formele en
informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van
musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en
die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op
gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig.
Die navorsingsmetodologie toegepas in hierdie navorsing sluit in
groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van
Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf
volgens metodologie, resultate en die analise van die resultate.
Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en
prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene
perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die
moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan
musiekopvoedkunde kan bring.
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Jazz as discourse : a contextualised account of contemporary jazz in post-apartheid Durban and Johannesburg.January 2005 (has links)
This study offers an ethnographically contextualised close reading of the music played by three 'jazz' groups in eight concerts held in Durban and Johannesburg between June 1994 and December 2003. These performances were videotaped and then analysed with reference to 1) the compositional and improvisational techniques employed in the creation of the performances; 2) the stage behaviour of the musicians; 3) audience behaviour, and 4) the physical contexts in which the performances occurred. The performances constitute the primary texts on which this study is based. Secondary texts, in the form of discourse produced because of the concerts, are also examined. These take the form of open-ended interviews with thirteen participant musicians and twelve audience members. The primary and secondary texts are then compared with each other and situated within their broader musical and social contexts. This exploration of the ways in which social processes inhere in musical processes draws on a notion of expressive discourse as 1) a multifaceted practice in which textuality, subjectivity, place, history, and power function as interdependent parts of a complex social ecology and 2) a dialogically-constituted system of utterances. The study then argues that musical details articulate social meanings - and thus function as utterances - because of their dual existence within 1) systems of intra- and intertextual relationships and 2) processes of dialectical interaction between texts and socio-historical contexts. / Thesis (Ph.D.)-University of KwaZulu-Natal, 2005.
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The South African Blue Notes : bebop, mbaqanga, apartheid and the exiling of a musical imagination.Dlamini, Sazi Stephen. January 2010 (has links)
During the middle decades of the twentieth century, the exiling from South Africa of jazz musicians, including The Blue Notes, brought the discourses of local jazz, its performance culture and repertoires, to international attention. This process points to jazz’s global reach and raises questions about its adoption by differently constituted cultural subjects. Arjun Appadurai’s arguments about global homogenisation and heterogenisation come into play here, and have special significance today, when the study of jazz performance and history is increasingly part of the music education of young South Africans. Questions about who ‘owns’ jazz and what constitutes its authenticity loom large, as do questions about its global entanglement. The careers of The Blue Notes emerge from a background of South African syncretic musical performance; as such, they belong within the protracted history of African cultural engagement with European and American mediations of modernity. Among other issues, my thesis examines the use of jazz-influenced repertoires in the narration of cultural identities in postcolonial South Africa, under apartheid, and in exile. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.
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Muziki wa Injili : the temporal and spatial aesthetics of popular church music in Dar es Salaam, Tanzania (1980s-2005)Sanga, Iman. January 2006 (has links)
This study is concerned with popular church music in Dar es Salaam and with changes in this
music in relation to the concepts of temporality and spatiality. In part one, I argue that
temporal change is experienced by human beings in relation to events or "stamps". Using
selected stamps in the history of Tanzania from the 1980s to 2005, I discuss, on the one hand,
how temporal events shaped various aspects of the music and people's experiences of the
music and, on the other hand, how the music influenced people's experiences of various
events and temporal rhythms. Various processes in the making ofpopular church music and
various people involved in the creation of this music are considered to serve as stamps that
mark the metamorphosis of the music. Likewise, the structural organization of the music and
various musical elements imprint musical works and give them their identities thus causing
them to be associated with other works that are organized in more or less similar ways.
In part two, I use the theory of spatial trialectics to examine how popular church music is
related to religious, national and gendered spaces. First, I discuss how the use of this music in
religious spaces and the changes that have taken place in aspects of the music have been
controversial, and I argue that the changes in the music led to changes in people's inner
experiences of Christian spirituality. Second, I point out that the practice of African
nationalism in this music has been aiming at liberating the national mental space through the
use of traditional music materials and by addressing various national issues. The dynamics in
this space involve the interaction between local and global music aesthetics. Third, I discuss
the prominence ofwomen musicians in popular church music in recent years and the way in
which this prominence has increased the focus on women's issues in the music. A close
reading of selected songs reveals that individuals' experiences of gender problems are shaped
by gendered mental space, which is informed by religious and other cultural norms. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2006.
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Orchestral music was the music of the working class : Indian popular music, performance practices and identity among Indian South Africans in Durban, 1930-1970.Veeran, Naresh Denny. January 1999 (has links)
During the mid-1930s, a tradition of music-making
which drew its repertoire almost exclusively from
the music of Indian films began among Indian South
African ensembles in and around the city of Durban.
This dissertation examines the ways in which the
re-created music of Indian films served as a popular
expressive medium for the majority of Indian South
Africans in and around the city of Durban between
1930 and 1970. Unlike ethnomusicological and popular
music studies that focus on musics which are generally
both composed and performed by the same group
of people, this study deals with a repertoire that
was by and large imported directly from another geo-
'graphic, political, and social context: India. The
study is based on the premise that the performance
of music can serve as a valuable historical text,
and it posits that the musical structures and performance
practices of the ensembles under study encode
vital information about shared socio-political
experiences and the Indian South African identities
that emerged during the period under discussion. / Thesis (Ph.D.)-University of Natal, Durban, 1999.
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The church as a site for non-formal music education : a case study of Bethesda Temple, Durban.Daniel, Shirelle Desiree. January 1998 (has links)
Much of the research undertaken on music education in South Africa has been concerned with formal music education and its application in the classroom. In spite of the fact that the majority of South Africans have had little or no access to formal music education, non-formal learning practices have been largely ignored as alternative, and potentially effective forms of music skills acquisition. This study focuses on the church, and the Durban Bethesda Temple in particular, and explores how, in the absence of access to formal music education, alternative learning methods based on generalised participation and musical process, may be conducive to the achievement of highly skilled musicianship. This thesis draws insight from theories proposed by intercultural music educationists, Christopher Small and Patricia Campbell, and ethnomusicologists, Blacking, Chernoff, Nketia and Merriam, whose work has focussed on conceptualisations, functions, roles and contexts of music-making in nonwestern, and Mrican societies in particular. It postulates that when music-making is nonindividualised and non-competitive, and when performance focuses on relationshipbuilding and ritual, rather than on specialisation and spectacle, music learning is achieved through participation by way of aural transmission, imitation and mentorship. In thisregard, the underlying philosophy of education, as is applied in non-formal mUSIC education, is based on the assumption that music is a human capacity; that music-making is process-orientated rather than product-related, and that music can be used to build individual and communal skills and competencies. The discussion concludes by suggesting insights that can be gleaned from the process of non-formal music learning in communal, participatory contexts, namely, the church; and how these insights can signal alternative perspectives to the practices and procedures of South Africa music education amidst current transformation. / Thesis (M.A.-Music)-University of Natal, 1998.
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The relationship between mbira dzavadzimu modes and Zezuru ancestral spirit possession.Matiure, Perminus. January 2009 (has links)
The relationship between mbira dzavadzimu mode and Zezuru Spirit Possession. This thesis investigates the relationship between mbira dzavadzimu modes and different levels of Zezuru spirit possession. The research adopted an ethnographic paradigm. Fieldwork, participant observation, face-to-face interviews and video recordings were employed during data collection. The theoretical underpinnings of the research were grounded in Neher’s 1960 theory of auditory driving1, Seeger’s 1987 theory of metamorphosis, Wiredu’s 2007 theory of interpretation and Tempels’ 1959 theory of cosmology. The researcher carried out the research from an emic perspective. Both deep reflexivity and narrative reflexivity frameworks were used in the writing of this documentation and editing of my film. The position of mbira music in the religious life of the Zezuru is quite significant in that it is used to evoke spirits in spirit mediums during occasions when the Zezuru communicate with their ancestors. Mbira music is embedded in the modes and tuning systems played on the mbira. The Zezuru believe that the modes belong to the ancestors and are passed from generation to generation as part of their heritage. My hypothesis is that mbira dzavadzimu modes are responsible for evoking spirits in spirit mediums. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009.
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Claiming sounds, constructing selves : the racial and social imaginaries of South African popular music.Robertson, Mary. January 2005 (has links)
This thesis explores some of the ways in which listening to South African popular music allows individuals to enter into imaginative engagements with others in South Africa, and in so doing, negotiate their place in the social landscape. Taking as its starting point the notion of the "musical imaginary" - the web of connotational meanings arising out of the interaction between music and society, rendering it a particularly suitable medium through which to imagine social actors - it focuses specifically on the role of music in constructions of 'race' and, to a lesser extent, of 'nation'. It examines some of the ways in which dominant discourses exert pressure on what is imagined, as well as highlighting the creativity of listeners who appropriate the musical imaginary for their own ends of identification. It attempts to depict the complexity of musical identification in postapartheid South Africa, in which individuals must negotiate multiple boundaries marking difference, including categories of 'race', ethnicity, gender and class. It also investigates perceptions of the role of music in generating new identities and modes of social interaction, and offers some speculations as to how an analysis of these perceptions may contribute to current theoretical models of change in multicultural societies. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2005.
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Local is lekker? : a study of the perceptions of contemporary South African popular music among Durban adolescents at five culturally diverse schools in the greater Durban area.Ralfe, Sarah Isabel. January 2005 (has links)
Is local lekker? This study looks at the perceptions the youth in Durban hold towards
local music. Through a study of the Grade 11 learners at Bonela Secondary, Gelofte
Skool, Hillcrest High School, Thomas More College and Sastri College this research
looks at how much support is offered for local music. It considers how much local
music the respondents listen to, how much they purchase and how many local
concerts they attend.
This study also considers the mediathat the respondents are exposed to,in order to·
discover if any correlation occurs between the media that they are exposed to and
their perception of local music. The impact of globalization and cultural imperialism
on the consumption of local music are also considered. In addition, the study looks
at whether variables such as gender, school, "race" or the home language of the
respondents impact on their support for local music.
Both qualitative and quantitative data was collected. The respondents were required
to respond to a questionnaire which elicited responses concerning their perceptions
of local music, their support for local music and the media that they are exposed to.
From the questionnaires a group of respondents of differing views, genders and
home languages was selected to participate in a focus group interview.
Results show that the respondents support very little in the way of local music, with
regard to listening to local music, purchasing local music and supporting local
concerts. They are exposed to a great deal of foreign material and do not have much
exposure to local products. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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