Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Current musicological discourses in South Africa seldom engage with Afrikaans content and contributions, even though there is an acknowledged large body of writing on music in Afrikaans. These writings could significantly inform music and general historiographies in South Africa. This study discusses music-related articles in the following Afrikaans magazines and newspapers of the early twentieth century: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) and Die Transvaler (1937-1948). The subject matter of a large proportion of these music-related articles comprises the history of Western European music. This includes biographies of composers and histories of stylistic periods, genres and instruments. Despite the physical distance between Europe and Africa, Afrikaners‘ attraction to Europe borders at times on a feeling of belonging to this tradition. This cosmopolitan notion of belonging has received little attention compared to themes of race, language and nationalism in twentieth-century South African historiography. A neglected Afrikaans discourse on music, however, presents an opportunity to explore the possibilities of cosmopolitanism in a further interpretation of Afrikaner identity and understanding of South African history. It is for this reason that the current study is primarily concerned with tracing the role of musical discourse in Afrikaner society between 1910 and 1948 by investigating notions of cosmopolitanism. The two theoretical strands of cosmopolitanism that will guide this study concern the work of Friedrich Meinecke (an early twentieth-century German scholar), and Kwame Anthony Appiah (who is still active in the field of philosophy). Meinecke‘s work is mainly concerned with the role cosmopolitan values played in the development of the National State, with specific reference to Germany from the late eighteenth century to the late nineteenth century. What attracts Appiah to cosmopolitanism is the freedom it provides for the individual to create her own identity. To be a citizen of the world need not be a rootless existence, but allows anyone to be a patriot of the country of her own choice. Meinecke‘s and Appiah‘s theories of cosmopolitanism, and their different positioning of the intersecting points between the spheres of the individual, the nation and the globe, will provide two theoretical frameworks informing the present author‘s attempt to interpret some of the materials collated for this study. The present writer believes that cosmopolitanism will prove an appropriate theory to uncover some elements of Afrikaner identity that has hitherto been ignored. / AFRIKAANSE OPSOMMING: Ten spyte van die omvang van Afrikaanse tekste oor musiek is daar in die hedendaagse tyd min musiekwetenskaplike diskoerse in Suid-Afrika wat bemoeienis maak met inhoude en bydraes wat in Afrikaans gemaak is. Hierdie Afrikaanse tekste besit die potensiaal om nie net musiekhistoriografie nie, maar ook algemene historiografie in Suid-Afrika meer geskakeerd in te klee. Die studie handel oor die musiekartikels in die volgende Afrikaanse tydskrifte en dagblaaie van die vroeg twintigste eeu: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) en Die Transvaler (1937-1948) 'n Groot gedeelte van hierdie musiekverwante artikels bespreek onderwerpe uit die geskiedenis van Wes-Europese kunsmusiek. Dit sluit onder meer in komponis-biografieë, sowel as geskiedenisse van stilistiese periodes, genres en instrumente. Die Afrikaner se belangstelling in Europa grens soms aan =n gevoel van Europese solidariteit, ten spyte van die fisieke afstand tussen Europa en Afrika. Hierdie kosmopolitiese denkwyse verdwyn dikwels op die agtergrond ten gunste van ander temas soos ras, taal en nasionalisme in twintigste eeuse Suid-Afrikaanse musiekhistoriografie. 'n Verwaarloosde Afrikaanse diskoers oor musiek bied 'n geleentheid om moontlikhede van kosmopolitisme te ondersoek in 'n verdere interpretasie van Afrikaner identiteit en Suid-Afrikaanse geskiedenis. Dit is om hierdie rede dat die huidige studie idees van kosmopolitisme wil ondersoek ten einde die rol van die musiekdiskoers in die Afrikaner gemeenskap tussen 1910 en 1948 te bepaal. Die huidige studie steun op twee teoretiese modelle van kosmopolitisme soos afgelei uit die werk van Friedriech Meinecke ('n Duitse geskiedkundige van die vroeg twintigste eeu) en Kwame Anthony Appiah (hedendaagse filosoof). Meinecke se werk fokus hoofsaaklik op die rol wat kosmopolitiese waardes gespeel het in die ontwikkeling van die nasie-staat, met spesifieke verwysing na Duitsland van die laat agtiende eeu tot die laat negentiende eeu. Wat Appiah aantrek tot die idee van kosmopolitisme is die vryheid wat dit aan die individu bied om haar eie identiteit te skep. Om 'n wêreldburger te wees dui nie noodwendig op 'n ongewortelde bestaan nie, maar laat enigeen toe om 'n patrioot te wees in die land van haar keuse. Meinecke en Appiah se teorieë van kosmopolitisme, hul onderskeie posisionerings van die individu, die nasie en die wêreld en die snypunte tussen hierdie sfere, bied twee teoretiese raamwerke vir die huidige skrywer se interpretasies van die materiaal wat vir hierdie studie versamel is. Die argument word gemaak dat kosmopolitisme 'n gepasde teorie bied om voorheen geïgnoreerde elemente van Afrikaner identiteit te ontbloot.

Thesis (MPhil)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Kwaito music, pronounced either as kwhy-toh, or quite-oh, is an indigenous South African music style which came into existence after the apartheid era was abolished. It was created by the black South African youth at the time when everyone was looking forward to embrace the new South Africa as well as a new music style. The people in the Gauteng ghetto/townships called it KWAITO after the Afrikaans isicamtho (slang) word "kwai" which means "good" or "hot." It also stems from the Afrikaans word 'kwaai" meaning "angry." It can also mean that "the guys are hot." Kwaito is a distinctly home-grown music style, reflecting life in South Africa in the local languages and urban slang. It also has its own style of dancing, speaking, dress code and performing. It includes kwaito genres ranging from guz (meaning to show a sign of affection for your fellow human beings) d'gong (meaning "out of control") and isgubhu "drum" to swaito (an improved term for kwaito). The music is basically dance music and the lyrics are in many cases unsubstantial or even nonsensible for example in the kwaito artist, Mandoza's song, Godoba, the words "Cyborg/Move your skeleton" are being repeated throughout the song. Kwaito is normally not sung, but chanted or spoken rhythmically over the music. Kwaito music has a very high impact on many young people's lives because many young kwaito music artists have become very rich almost overnight. Black youth see the kwaito trend as a way out of their poor existence within the townships/ghettos. This study aims to divert the focus from the kwaito lifestyle (clothing, glamour, materialism) and instead concentrates on the musical aspects thereof. Many classically trained musicians and music teachers frown upon the kwaito music style and regard it as being senseless, unsophisticated and of a lower quality than the popular music that they are used to listening to. As with all other South African music styles such as mbaqanga, kwela, Afrikaans music, township jazz, Kwaito music is introduced into the secondary school subject music curriculum for grades 10- 12. Many schools in South Africa have installed computer laboratories for effective teaching and learning to take place. Schools also have music keyboard laboratories where learners are taught to compose electronic computer music. In view of the fact that almost all learners are computer literate the author has designed this electronic resource with lesson plans for teachers to be used in the secondary school on kwaito music specifically. One lesson plan is an example where kwaito music is notated and used in a four part harmony exercise. This resource is not geared towards the marketing of kwaito as a music style but is geared to make it substantial to be used as lesson material for secondary school subject music. A further aim is to sensitise the more musically educated ear to the musical qualities of the kwaito music style because in many cases it is being ignored by both learners and educators. This study is based on literature studies, empirical study. A website on kwaito music is designed and developed which contains information on the history of kwaito, the cultural democracy of kwaito, various artists, recording and marketing thereof. Sample lesson plans are also developed as part of the resource. / AFRIKAANSE OPSOMMING: Kwaito musiek, uitgespreek as kwy-toh of kwaai-toh, is 'n inheemse Suid-Afrikaanse musiekstyl wat na die apartheid era tot stand gekom het. Dit was deur die swart Suid Afrikaanse jeug geskep in die tyd toe almal daarna uitgesien het na 'n nuwe Suid Afrika sowel as 'n nuwe musiekstyl. Mense in die agter-geblewe gemeenskappe (ghettos) van Gauteng het hierdie musiekstyl KWAITO genoem afgelei van die Afrikaans "isicamtho" (gemengde tale) woord 'kwai' wat 'goed' of 'warm' beteken. Dit hou ook verband met die Afrikaanse woord 'kwaai' wat 'kwaad' beteken. Daar word ook geinsinueer dat 'die ouens goed of warm voorkom.' Kwaito is 'n kenmerkende plaaslike musiekstyl wat die alledaagse bestaanslewe in Suid Afrika deur middel van plaaslike tale en stedelike spreektale weerspieel. Dit het sy eie dansstyl, manier van praat, klere-modes en verhoog optredes. Dit sluit kwaito style soos Guz (wat beteken om vir jou medemens om te gee), D'gong (om buite beheer te wees),isgubhu (trom) en Swaito ('n verbeterde vorm van kwaito) in. Die musiek is basies dansmusiek en die lirieke is baie keer oppervlakkig of dit maak in sommige gevalle selfs nie sin nie soos byvoorbeeld in die kwaito kunstenaar, Mandoza, se lied Godoba, word die woorde 'Cyborg, beweeg jou geraamte' aanhoudend herhaal. Kwaito word gewoonlik nie gesing nie, maar ge'rap' wat beteken dat die woorde ritmies met klankbegeleiding gese word. Kwaito het 'n baie groot invloed op baie jongmense se lewens aangesien heelwat van die jong kwaito kunstenaars feitlik oornag baie beroemd en skatryk geword het e Die jeug dit as 'n uitweg beskou om hulself uit hul ellende en armoede te verhef Die doel van hierdie studie is om die fokus vanaf die kwaito leefstyl (kleredrag, glans en materialisme) te skuif en liewer op die musikale aspekte daarvan te konsentreer. Heelwat musikante en musiek onderwysers wat in klassieke musiek geskool is,stel nie in hierdie musiekstyl belang nie omdat hulle dit as sinneloos, ongesofistikeerd en van 'n lae gehalte as die bekende populere musiek beskou. Kwaito musiek is net soos aile ander Suid- Afrikaanse musiekstyle soos mbaqanga, kwela, Afrikaanse musiek, Afrika jazz by die vakmusiek leerplan vir sekondere skole, ingesluit vir grade 10- 12. Heelwat skole het rekenaar laboratoriums geinstalleer om effektiewe onderrig en leer te verskaf. Verskeie skole het selfs musiek klawerbord laboratoriums waar leerders geleer word om elektroniese rekenaarmusiek te komponeer. Weens die feit dat amper aile leerders rekenaar geletterd is, het die skrywer hierdie elektroniese kwaito hulpbron met lesplanne vir sekondere skool musiekonderwysers ontwikkel. Een lesplan is 'n voorbeeld waar kwaito musiek genoteer is en in 'n vierstemmige harmonie oefening gebruik word. Hierdie hulpbron is geensins daarop gemik om kwaito as 'n musiekstyl te bemark nie, maar om dit substantief te maak as lesmateriaal vir sekondere skool gebruik. 'n Verdere doel is om die musikale oor vir kwaito klank sensitief te maak aangesien dit baie kere deur beide leerkragte en leerders geignoreer word. Hierdie studie is gebasseer op literatuurstudies en empiriese studie. 'n Webblad is ontwikkel wat inligting oor die geskiedenis van kwaito, die kulturele demokrasie van kwaito, verskeie kunstenaars, asook die klankopnames en bemarking daarvan. Lesplanvoorbeelde is ook ontwikkel as deel van die hulpbron.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: “Liederwysies” (folk hymns) are spiritual folk songs that emerged in the Afrikaans culture at the beginning of the 19th century, and were used in isolated cases until the late 20th century. These hymn tunes were sung by isolated rural families during their family worship and were passed on via oral tradition. The origin of such melodies can be traced to various sources, and like the similar process affecting folk music traditions all over the world, they emerged as variations of official settings of psalms, hymns and other spiritual songs as well as secular melodies. The process is comparable with the medieval centonization and contrafacta: in the first case fragments of typical melodic contours may be used, and in the second, secular melodies are appropriated for spiritual texts. (In the latter case the 19th century Anglicisation policy and the influence of American revival hymns probably occasioned e.g. the American folk song Clementine to be used as the basis of a folk hymn.) In some instances specially composed melodies which had become obsolete, were retained as “liederwysies”, as happened with F.W. Jannasch's setting of Psalm 130. The demands of performance practice called for melodic variation, and one might even identify instances of elementary neologism. Much of the variation draw upon extensive decoration, such as melodic and rhythmic deviation, often by means of auxilliary notes, passing notes (known as “draaiers” (“turns”) in the vernacular), and apparently random rhythmic adaptations of unknown sources of melody. Dutch researchers led research into this folk music genre at the beginning of the 20th century. The first known notation of “liederwijzen” was done by Hendrik Vischer in 1896, followed by two booklets by Willem van Warmelo published in 1948 and 1958. These excited much interest, and G.G. (Gawie) Cillié stepped forward as Van Warmelo's avid (if musicologically less erudite) successor. Although Cillié opposed the folk hymns originally from church musical convictions, since he saw them as jeopardizing the “purity” of Afrikaans church music, he did collaborate with the inclusion of some such tunes in the Liedboek van die Kerk (2001). His last publication, reviewing 70 folk hymns, appeared in print in 1993. For the purposes of this thesis all known research on the topic was collected and evaluated critically. The researcher provides the broad historical background to the development of spiritual folk songs and identifies problems involved in such research. A total of 176 melodies (including variants) are examined and described individually, and where possible, they are placed in context with regard to their origin and composition. / AFRIKAANSE OPSOMMING: Liederwysies is geestelike volksliedere wat sedert die begin van die 19de eeu in die Afrikaanse volksmond ontstaan het, en in geïsoleerde gebruik was tot die laat 20ste eeu. Hierdie liedere is deur geïsoleerde (plattelandse) families tydens huisgodsdiens gesing en deur mondelinge tradisie oorgedra. Die herkoms van sulke melodieë kan aan ’n verskeidenheid bronne toegeskryf word, en ooreenkomstig ’n proses eie aan volksmusikale tradisies wêreldwyd, dit wil sê variante van offisiële melodieë vir Psalms, Gesange, ander geestelike liedere, asook sekulêre melodieë. Die proses is in baie gevalle vergelykbaar met die Middeleeuse sentonisasie en kontrafaktuur: in die eerste geval kan fragmente of tipiese melodiese wendings van bekende melodieë diens doen, en in die tweede geval word sekulêre melodieë aangewend vir geestelike tekste. (In laasgenoemde geval het die negentiende-eeuse anglisasiebeleid en die invloed van Amerikaanse opwekkingsliedere waarskynlik bygedra tot die wye gebruik van byvoorbeeld die Amerikaanse liedjie Clementine as basis vir ’n liederwysie.) Enkele gevalle van gekomponeerde melodieë wat egter in onbruik geraak het, maar in die geheue bly vassteek het as “liederwysie” is ook bekend, soos F.W Jannasch se melodie vir Psalm 130. By wyse van ’n deels unieke uitvoeringspraktiese benadering het verskeie melodievariante ontstaan, en in enkele gevalle kan daar selfs sprake wees van elementêre nuutskeppings. Die element van variëring berus grotendeels op die gebruik van soms uitvoerige “versierings”, dit wil sê melodiese en ritmiese afwykings, meestal by wyse van wisselnote, deurgangsnote (in die volksmond bekend as “draaiers”), en oënskynlik willekeurige ritmiese “aanpassings” van die meestal onbekende melodiebronne. Die navorsing van hierdie volksmusikale genre is hoofsaaklik deur Nederlanders aan die begin van die 20ste eeu onderneem. Die eerste notasie van “liederwijzen” is (sover bekend) in 1896 deur Hendrik Visscher gedoen. Willem van Warmelo se navorsing is in twee klein boekpublikasies in 1948 en 1958 gepubliseer. Dit het baie belangstelling uitgelok, en Van Warmelo het ’n ywerige (hoewel musiekwetenskaplik minder onderlegde) opvolger gehad in G.G (Gawie) Cillié. Alhoewel Cillié weens kerkmusikale oortuigings hom aanvanklik teen die liederwysies uitgespreek het, en dit as ’n bedreiging vir die “suiwer” Afrikaanse kerklied beskou het, het hy meegewerk aan die insluiting van enkele van die melodieë in die Liedboek van die Kerk (2001). Sy laaste publikasie oor die onderwerp, met ’n oorsig oor 70 liederwysies, het in 1993 verskyn. Vir hierdie studie is alle bekende navorsing oor die onderwerp versamel en krities geëvalueer. ’n Breë historiese agtergrond van die ontwikkeling van die geestelike volkslied, en die probleme wat met die navorsing daarvan gepaard gaan is uitgelig. Die totaal van 176 melodieë (insluitend variante) is individueel ondersoek en beskryf, en waar moontlik in konteks geplaas ten opsigte oorsprong en samestelling.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this thesis, the term pluralism is used to refer to the different musical and non-musical aspects that form part of a musical composition. Hans Roosenschoon, whose work is the focus of this study, is open about the fact that there are many pluralistic elements in his compositions and he admits to borrowing from others in his music. The thesis provides a short overview of techniques used when borrowing music with the focus on techniques used after 1950. This initial section also includes a short biography of Hans Roosenschoon with a broad overview of his compositional techniques. In the next section, selected works of Roosenschoon are approached in two ways. First, an article by Christopher Ballantine on the compositions of Charles Ives serves to launch a discussion on meaning in borrowed music. When Ballantine wrote about the works of Ives, he focused on the meaning that quotations possess rather than on giving comprehensive analyses of the works. Consequently Ballantine’s focus on musical meaning in Ives’s works is compared to musical meaning generated in Roosenschoon’s work, bearing in mind that Ballantine focuses on Ives's collages, and the majority of Roosenschoon's compositions are technically not collages. Roosenschoon’s use of canonical works from Beethoven and Mozart and the subsequent construction of new musical contexts is explored. ‘New musical contexts’ are differentiated to include a discussion on the difference of borrowing music accompanied by text compared to music without text, using five different compositions as examples. In the third chapter pluralism is extended further to include non-musical influences, with specific focus on possible political undercurrents in Roosenschoon’s compositions. All examples of political impulses in Roosenschoon’s compositions and writings are based on specific text examples written by Roosenschoon as well as personal interviews, and not inferences. Three compositions serve as examples of potentially political works, although not all of the political gestures are visible in the music itself, but were discovered through documents and discussions with the composer. / AFRIKAANSE OPSOMMING: In hierdie tesis word die term pluralisme gebruik word om te verwys na die verskillende musikale en nie-musikale aspekte wat deel vorm van 'n musikale komposisie. Hans Roosenschoon, wie se werk die fokus van hierdie studie is, is openhartig oor die feit dat daar baie pluralistiese elemente in sy komposisies is. Hy erken verder dat hy van ander komponiste se musiek gebruik maak in sy eie komposisies. Na 'n kort oorsig van die tegnieke wat gebruik word wanneer musiek geleen word, verskuif die fokus na die tegnieke wat gebruik is na 1950. Hierdie afdeling sluit ook 'n kort biografie van Hans Roosenschoon in met 'n breë oorsig van sy komposisietegnieke. In die volgende afdeling word geselekteerde werke van Roosenschoon op twee maniere benader. Eerstens dien 'n artikel deur Christopher Ballantine oor die komposisies van Charles Ives as beginpunt van 'n bespreking oor die betekenis wat geleende musiek moontlik inhou. Wanneer Ballantine skryf oor die komposisies van Ives, fokus hy op die betekenis van aangehaalde musiek eerder as op omvattende ontleding van die werke. Vervolgens word Ballantine se fokus op musikale betekenis in Ives se komposisies vergelyk met die musikale betekenis wat gegenereer word in Roosenschoon se werk, met die verstaan dat Ballantine gefokus het op Ives se collages, en die meerderheid van Roosenschoon se komposisies tegnies nie collages is nie. Roosenschoon se gebruik van die kanoniese werke van Beethoven en Mozart en die daaropvolgende konstruksie van nuwe musikale kontekste word ondersoek. In hierdie ondersoek word daar ‘n onderskeid getref wanneer teks by die musiek betrokke is en wanneer dit nie 'n faktor is nie. Vyf verskillende komposisies word in hierdie afdeling bespreek. In die derde hoofstuk word pluralisme verder uitgebrei om nie-musikale invloede in te sluit, met 'n spesifieke fokus op die moontlike politieke ondertone in Roosenschoon se komposisies. Alle voorbeelde van politieke impulse in Roosenschoon se komposisies en geskrifte word gebaseer op spesifieke tekste wat deur Roosenschoon geskryf is, sowel as persoonlike onderhoude, en nie blote afleidings nie. Drie komposisies dien as voorbeelde van potensiële politiese werke.

Thesis (MMus)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: It is ironic that with so much interest in singing as a career, the possiblities for trained singers are getting less and less, especially in South Africa. With reality programmes such as Idols and Superstars, the popular music world is overflowed with singers with little, if any, voice training. Then there are also singers who try to establish themselves as crossover artists and perform opera arias on stages such as the KKNK Classic Pops and Die Burger’s Afri-Klassiek concerts accompanied by South Africa’s foremost symphony and philharmonic orchestras. But what about the classical singer who cross over into other genres of singing and like some local and international artists have proved to us, musicals could be a genre to explore. This study explore the possiblity of this type of crossover from classical singing to musical singing. By listening to sound recordings and using a series of musical volumes, songs were identified that the classical singer could sing without harming his or her voice technique. One of the success stories of this type of crossover is the Capetonian soprano, Aviva Pelham. In 1972 Pelham established herself as an opera singer in Cape Town and then confused the classical world with her appearance as Eliza Doolittle in 1978. After that she had a successful career on both classical and musical stages. During her career of nearly 40 years as performing artist, Pelham appeared in 28 different opera roles, 11 different operetta roles and 10 musical roles. Aviva Pelham’s achievements were laureated with a Cape Nederburg Opera Prize, four FNB Vita Awards and in 2000 an Arts, Culture and Heritage Award from the Western Cape Minister for Environment and Culture / AFRIKAANSE OPSOMMING: Dit is ironies dat, terwyl daar soveel belangstelling in sang as loopbaan heers, word die geleenthede vir opgeleide sangers meer beperk. In Suid-Afrika veral is die moontlikhede beperk vir klassieke sangers. Met realiteitsprogramme soos Idols en Supersterre is die populêre musiekwêreld vol van sangers met geen of baie min sangopleiding. Daar is dan ook van dié sangers wat probeer om hulself te vestig as crossover-kunstenaars en opera-arias uit te voer op die konsertverhoë, soos bv. die KKNK Classic Pops- en Die Burger se Afri-Klassiek-konserte saam met van Suid-Afrika se voorste simfonie- of filharmoniese orkeste. Maar wat van die die klassieke sanger wat “crossover” in ‘n ander tipe styl van sang en soos deur ‘n paar plaaslike en internasionale kunstenaars al bewys, is musiekblyspele ‘n genre om te ondersoek. Hierdie studie ondersoek dus die moontlikheid van hierdie tipe “crossover” van klassieke sang na musiekblyspele. Daar word deur middel van klankopnames en ‘n reeks volumes van musiekblyspel-liedere, liedere geklassifiseer wat die klassieke sanger kan sing sonder om sogenaamde skade aan sy of haar sangtegniek te doen. Een van die sukses-stories van hierdie tipe “crossover” is die Kaapse sopraan, Aviva Pelham. Pelham het haarself as ‘n operasangeres gevestig in 1972 in Kaapstad en die klassieke wêreld ophol gejaag met haar verskyning as Eliza Doolittle in 1978. Vandaar het sy ‘n suksesvolle loopbaan op beide die klassieke en musiekblyspelverhoë gehad. Pelham het gedurende haar loopbaan, van ongeveer 40 jaar as uitvoerende kunstenaar, 28 verskillende operarolle, 11 verskillende operette-rolle en 10 musiekblyspelrolle vertolk. Aviva Pelham se prestasies is bekroon met ‘n Kaapse Nederburg Operaprys, vier FNB Vita-toekennings en sy is in 2000 vereer deur die Wes-Kaapse Minister vir Omgewings- en Kultuursake met ‘n Kunste, Kultuur en Erfenis-toekenning vir haar bydrae tot die Uitvoerende Kunste.

Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study addresses issues concerning power and politics in five music archives in South Africa. It has a three-fold approach. First, it provides an overview of archival theory as it has developed since the French Revolution in 1789. It follows the trajectory of changing archival principles such as appraisal and provenance and provides an oversight into the changing understanding of ‘the archive’ as an impartial custodian of the Truth, to its conceptualisation in the Humanities as a concept deeply rooted in discourses around power, justice and knowledge production. Interrogating the unfolding concept of the archive throws into relief its current envisioned function within a post-Apartheid South Africa. Secondly, this dissertation explores five music archives in South Africa to investigate the level to which archival theory is engaged with and practiced in music archives. The archives in question are the International Library of African Music (ILAM), the South African Broadcasting Corporation (SABC) Radio and Sound Archive, the Gallo Record Archive, the Hidden Years Music Archive (HYMA) and the Documentation Centre for Music (DOMUS). This interrogation serves to illustrate how music archives take part in or subvert the power mechanisms inherent in archival practice. As such, this dissertation is situated within a body of scholarship that seeks to subvert the still prevailing consideration of the music archive as a neutral repository. Third, it investigates how a critical reading of music archives within a consideration of archival theory can add to our understanding of the practical realities of archives that firmly ground them as objects of power. / AFRIKAANSE OPSOMMING: Hierdie studie spreek vraagstukke aan rakende mag en politiek in vyf Suid-Afrikaanse musiekargiewe. Die studie volg ‘n drie-ledige benadering. Eerstens gee dit ‘n oorsig van argivale teorie soos wat dit ontwikkel het vanaf die Franse Revolusie in 1789. Dit volg die trajek van veranderende argivale grondslae soos waardebepaling en oorspronklike herkoms en gee ‘n oorsig van die veranderende begrip van ‘die argief’ as ‘n neutrale kurator van die Waarheid, tot by die konsepsualisering van die argief in die Geesteswetenskappe as ‘n konsep wat gegrond is in diskoerse van mag, geregtigheid en die produksie van kennis. Die ondersoek na die ontluikende konsep van die argief bring breër kwessies rondom die voorgestelde funksie daarvan in ‘n post-Apartheid Suid-Afrika na vore. Tweedens verken hierdie studie vyf musiekargiewe in Suid-Afrika om ondersoek in te stel na die vlak waartoe daar in gesprek getree word met argivale teorie asook die mate waartoe hierdie teorie toegepas word in musiekargiewe. Die betrokke argiewe is die International Library of African Music (ILAM), die Suid-Afrikaanse Uitsaai Korporasie (SAUK) Radio en Klank Argief, die Gallo Record Argief, die Hidden Years Music Argief (HYMA) en die Dokumentasie Sentrum vir Musiek (DOMUS). Hierdie ondersoek illustreer hoe musiekargiewe in strukture van mag, inherent aan argiefpraktyk, deelneem of dit omverwerp. Dus staan die studie binne ’n vakkundige raamwerk wat daarna streef om die steeds heersende beskouing van die argief as ’n neutrale bewaarplek te ondermyn. Derdens ondersoek die studie maniere hoe ’n kritiese beskouing van musiekargiewe binne ’n raamwerk van argivale teorie kan bydra tot die verstaan van die praktiese realiteite van argiewe op ’n manier wat argiewe stewig begrond as objekte van mag.

Educational philosophy generally and the Philosophy of Music Education in particular have been slow to consider in any real depth the findings of those sciences most concerned with explaining human nature, that is, the attributes (capacities, aptitudes, predilections, appetites) we have in common because we share the same genome, much of which we also share with other species. There are several such sciences which may collectively be called Darwinian Science in that they all take as axiomatic Darwin‘s explanation for how life evolves according to the law of natural selection – a simple, mindless and purposeless algorithm that has played out for over four billion years and which continues to do so, driving not only biological evolution but, as this study argues, cultural evolution as well. Evolutionary Psychology (including Biomusicology and Evolutionary Aesthetics), Cognitive Neuroscience and Gene- Culture Coevolution Theory are the overlapping fields that this study draws from in developing an understanding of the adapted mind useful for engaging with questions germane to the Philosophy of Music Education, principally those concerning the nature and value of music and how best it should feature in general education. These are questions that have not hitherto been addressed from a Darwinian perspective. This study develops such a perspective and applies it not only to questions around music‘s educational values and possibilities, but to more encompassing philosophical questions, wherein the goals of music education are made accountable in relation both to Dewey‘s ideal of society as a function of education, and to an ecozoic vision of a sustainable planetary habitat of interdependent and interconnected life forms. / Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2011.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1983.

No abstract available. / Thesis (Ph.D.)-University of Natal, Durban, 1998.

Amahubo songs are at the centre of the traditional Zulu cultural, religious and political lives. Their age is often associated with the very "beginning" of things, when the very first Zulu people emerged from the bed of reeds. As musical items amahubo tend to be easily associated with the old, pre-colonial era when Zulus were in charge of their lives and their destinies. The performance contexts of amahubo songs are the wedding, the funeral of a King, Chief, induna, umnurnzane, war and other commemorative ceremonies. Amahubo are also called ceremonial music because of their association with the ceremonial. Ritual and symbolism dominate amahubo performance contexts, amahubo themselves being symbols that stand for other ideas. It is noteworthy that despite missionary and colonial propaganda against traditional Zulu music and culture, amahubo continue to survive and are still performed at clan, regional and Zulu 'national' levels. In addition, there has emerged new syncretic styles which demonstrate the fusion of Zulu and Western (hymnal) musical ideas. From time to time the new musical styles emphasize a Zulu identity which makes them to be mostly symbolically associated with or related to amahubo songs. Today, amahubo and seven modern Zulu musical style can easily express a broad statement of the Zulu ethnic entity of ,some seven to eight million individuals. All these musical styles, when claimed by Zulus draw "imaginary borders" between Zulus and non-Zulus and get referred to as Zulu (ethnic or 'national') music. such references, however, are situational. The period 1988 - 1992 in which research was conducted culminating in this thesis has been marked by Zulu ethnic resurgence characterized by the performance of amahubo songs and other modern styles of religious, choral, wedding, mbhaganga, maskanda and isicathamiya, all of which, through manipulation of text and musical sounds, get situationally claimed for the Zulu ethnic (national) identity. / Thesis (Ph.D.)-University of Natal, Durban, 1992.