Thesis (MMus (Music))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly
premised on the assumption of complicity as an interpretive frame in which the
relationship between Apartheid intellectualisation and Afrikaans music historiography
can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd,
Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four
chapters, I attempt to construct metaphors, points of intersection or articulation
between Apartheid intellectualisation and Afrikaans music historiography. Music is
never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie
Eloff musical metaphors become ways of enunciating racial theories, for the Dutch
musicologist Jan Bouws music provides entry into South Africa and its discourses, for
J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa
Nepgen music constitutes the perfect domain for and the gestating impulse of her own
often ornate national devotions. Some of the themes addressed in this thesis include
the language and metaphors of Apartheid intellectualisation, discourses of paranoia,
struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the
cultural language of Afrikaner nationalism and the reciprocity between cultural
fecundity and dominance of the land. The final denouement comprises a positing of
the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who
emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of
its fate and future. / AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van
komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding
tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan
word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F.
Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van
die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen
Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer.
Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey
Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras
geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek
toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal
waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die
ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge.
Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en
metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid,
kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en
die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die
tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O
Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die
bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van
die volk se lot en toekoms.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:sun/oai:scholar.sun.ac.za:10019.1/2839 |
| Date | 12 1900 |
| Creators | Venter, Carina |
| Contributors | Muller, Stephanus Jacobus van Zyl, University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Music. |
| Publisher | Stellenbosch : University of Stellenbosch |
| Source Sets | South African National ETD Portal |
| Language | English |
| Detected Language | Unknown |
| Type | Thesis |
| Rights | University of Stellenbosch |
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