Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups
in South Africa. The objective was to provide a history of the development of such
groups in South Africa, as well as to compare the methods and musical products of
these groups. Another aim was to explore the effects of the groups on the South
African music industry and music education.
An initial literature research on the history of electric bowed instruments and the
phenomenon of classical crossover music as a genre provided the contextual
information needed to understand the building blocks of this relatively young
compartment of the music industry. Characteristics and marketing strategies of this
genre are discussed as well as the impact of aesthetics and gender on classical
crossover artists. A set of questionnaires was distributed amongst members of these
groups, classical professional musicians in professional South African orchestras,
members of electric bowed instrument groups in South Africa, tertiary music
students and students at a music school, as well as audience members at an electric
bowed instrument group concert. The questionnaires were taken to the Centre for
Statistical Consultation at the Stellenbosch University Statistics Department and the
processed results were applied to this study. The influence of such groups on South
African music education as well as the South African music industry is then
examined. The combination of electric bowed instrument and classical crossover music gave
birth to the phenomenon of electric bowed instrument groups. In this thesis the
“originality” of such artists was evaluated, as a distinct pattern or formula for
forming and operating such groups has materialised. The South African electric
bowed instrument groups attempt to incorporate a uniquely South African quality
into their performances with varying levels of success. Members of such groups, as
well as professional classical musicians in the country, believe that the existence
and performances of these groups have had an impact on South African music
education; however, this theory is proven incorrect in this thesis. Furthermore, it
was found that electric bowed instrument groups could have a negative impact on classical music in South Africa, as their marketing directed at the public may
unintentionally steer audiences away from classical music performances.
The electric bowed instrument groups industry has shown enough growth to prove
its sustainability in South Africa as well as internationally. It is a valuable additional
occupation for bowed instrument players in South Africa, although it might have a
detrimental impact on the South African classical music industry. / AFRIKAANSE OPSOMMING: In hierdie tesis word die ontstaan en ontwikkeling van elektriese strykinstrument
groepe in Suid Afrika ondersoek. Die doel van die studie is om ʼn geskiedenis van
sulke groepe te lewer, sowel as om die bestuur metodes en musiek van sulke groepe
te vergelyk. Verder word die effekte van hierdie groepe in Suid Afrika op
musiekopvoeding en die Suid Afrikaanse klassieke musiek bedryf ondersoek.
ʼn Literatuur ondersoek van die geskiedenis van elektriese strykinstrumente en die
fenomeen van klassieke “crossover” musiek as ʼn genre, het nodige agtergrond
informasie ten opsigte van die boublokke van so ʼn relatiewe jong afdeling in die
musiekbedryf verskaf. Kenmerke en bemarkingstrategieë van hierdie genre is
bespreek, sowel as die klem van estetika en geslag op klassieke “crossover”
musikante. ʼn Stel vraelyste is uitgedeel onder professionele klassieke musikante in
Suid Afrika, lede van Suid-Afrikaanse elektriese strykinstrument groepe, tersiêre
musiekstudente, studente by ʼn musiekskool sowel as ʼn gehoor by ʼn elektriese
strykinstrument groep uitvoering. Die vraelyste was geneem na die Sentrum vir
Statistieke Konsultasie aan die Universiteit van Stellenbosch, en die verwerkte
resultate was toegepas op die studie. Die invloed van hierdie groepe op Suid
Afrikaanse musiekopvoeding, sowel as die Suid Afrikaanse musiekbedryf word in
hierdie studie bespreek. Die kombinasie van elektriese strykinstrumente en klassieke “crossover” musiek het
gelei tot die ontstaan van elektriese strykinstrument groepe. In hierdie tesis word die
uniekheid van sulke groepe bevraagteken, oordat ʼn patroon of formule vir die
formasie en bestuur van sulke groepe te voorskyn gekom het. Die Suid Afrikaanse
elektriese strykinstrument groepe wend ʼn poging aan om ʼn unieke Suid Afrikaanse
persona aan hulle optredes te gee, met wisselende vlakke van sukses. Lede van
hierdie groepe, sowel as professionele klassieke musikante in Suid Afrika glo dat
die bestaan van elektriese strykinstrument groepe en hul uitvoerings ʼn invloed het
op die Suid Afrikaanse musiekopvoedkunde. In die studie is hierdie hipotese egter
onwaar bevind. Verder, is dit bevind dat elektriese strykinstrument groepe ʼn
moontlike negatiewe effek op die Suid Afrikaanse klassieke musiek bedryf kan hê, aangesien hulle bemarking tot die publiek mag onopsetlik gehore weg stuur vanaf
klassieke musiek uitvoerings.
Die elektriese strykinstrument groep industrie toon genoeg ontwikkeling en groei in
Suid Afrika en op internasionale vlak om hul toekoms in die musiekindustrie te
bevestig. Sulke groepe is waardevolle addisionele werksgeleenthede vir strykers in
Suid Afrika, alhoewel die fenomeen moontlike negatiewe impak op die Suid
Afrikaanse klassieke musiekindustrie mag hê.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/80216 |
| Date | 03 1900 |
| Creators | Van der Linde, Annien |
| Contributors | Roosenschoon, Hans, Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music. |
| Publisher | Stellenbosch : Stellenbosch University |
| Source Sets | South African National ETD Portal |
| Language | en_ZA |
| Detected Language | Unknown |
| Type | Thesis |
| Format | 79 leaves |
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