Gender, rock and the electrical guitar : A post -structural reading
- Fourie, Jeandre, Potgieter, Zelda
- Authors: Fourie, Jeandre , Potgieter, Zelda
- Date: 2020
- Subjects: Rock Music -- History -- Criticism , Gender identity in Music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/46880 , vital:39721
- Description: Rock ‘n’ roll and, by extension, the electric guitar, is widely considered as a “gendered field of practice” (Leonard 2015: 184), governed by the hyper-masculine ideal (Hartman and Schmid 2014: 60). Both function as extensions of masculinity, representing an ideological binary of male superiority and female inferiority. This manifests concretely in the perceived disparity regarding gender representation amongst rock musicians, particularly guitarists, and often leads to somewhat one-dimensional views about the misogyny associated with the genre (Gracyk 2001: 182-183). However, by applying a post-structural reading and deconstructing the binary according to a theoretical framework inspired by the works of Julia Kristeva -- presented in a Hegelian dialectical model, with additional insight drawn from the works of Jacques Lacan and Sigmund Freud- it becomes apparent that the male claim to, and overrepresentation within,the genre is a multifaceted issue, born of a combination of natural and social constructionist factors.
- Full Text:
- Date Issued: 2020
- Authors: Fourie, Jeandre , Potgieter, Zelda
- Date: 2020
- Subjects: Rock Music -- History -- Criticism , Gender identity in Music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/46880 , vital:39721
- Description: Rock ‘n’ roll and, by extension, the electric guitar, is widely considered as a “gendered field of practice” (Leonard 2015: 184), governed by the hyper-masculine ideal (Hartman and Schmid 2014: 60). Both function as extensions of masculinity, representing an ideological binary of male superiority and female inferiority. This manifests concretely in the perceived disparity regarding gender representation amongst rock musicians, particularly guitarists, and often leads to somewhat one-dimensional views about the misogyny associated with the genre (Gracyk 2001: 182-183). However, by applying a post-structural reading and deconstructing the binary according to a theoretical framework inspired by the works of Julia Kristeva -- presented in a Hegelian dialectical model, with additional insight drawn from the works of Jacques Lacan and Sigmund Freud- it becomes apparent that the male claim to, and overrepresentation within,the genre is a multifaceted issue, born of a combination of natural and social constructionist factors.
- Full Text:
- Date Issued: 2020
Music listening and its cognitive effect on learning
- Authors: Freer, Angela Elizabeth
- Date: 2019
- Subjects: Music -- Psychological aspects , Music therapy Cognitive learning Music appreciation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/39807 , vital:35462
- Description: This experimental study focuses on the activity of music-listening and its effect on students’ learning and memory. This is particularly relevant today given the ‘sound-consuming culture’ which results from advanced multimedia technologies. To determine music-listening’s effect on students, we examined the cognitive effect that music-listening had on their memory and learning. A non-probability convenience sampling technique was employed to recruit a limited population of 227 male and female participants from three Port Elizabeth high schools between the Grades of 8 and 9. A ‘two group design’ was used with 189 students (54 males; 123 females) completing a word-recall test and reading comprehension test. During the first round of testing all participants completed both tests under the first music treatment condition: silence. During the second round of testing, a second set of tests was provided with the experimental group placed under a treatment condition of self-selected background music while the control group remained under the condition of silence. Independent sample t-tests were used to analyse the data of this study. The results showed that listening to self-selected background music had a negative cognitive effect on students’ memory and learning during the completion of the word-recall tests. However, no significant effect was found in students’ ability to complete a reading comprehension. In addition, this study also showed that female students seemed to have significant negative cognitive effect during the word-recall test. The findings of this study therefore showed that, depending on the task, word-recall tests (but not reading comprehension tests) were cognitively affected by music-listening.
- Full Text:
- Date Issued: 2019
- Authors: Freer, Angela Elizabeth
- Date: 2019
- Subjects: Music -- Psychological aspects , Music therapy Cognitive learning Music appreciation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/39807 , vital:35462
- Description: This experimental study focuses on the activity of music-listening and its effect on students’ learning and memory. This is particularly relevant today given the ‘sound-consuming culture’ which results from advanced multimedia technologies. To determine music-listening’s effect on students, we examined the cognitive effect that music-listening had on their memory and learning. A non-probability convenience sampling technique was employed to recruit a limited population of 227 male and female participants from three Port Elizabeth high schools between the Grades of 8 and 9. A ‘two group design’ was used with 189 students (54 males; 123 females) completing a word-recall test and reading comprehension test. During the first round of testing all participants completed both tests under the first music treatment condition: silence. During the second round of testing, a second set of tests was provided with the experimental group placed under a treatment condition of self-selected background music while the control group remained under the condition of silence. Independent sample t-tests were used to analyse the data of this study. The results showed that listening to self-selected background music had a negative cognitive effect on students’ memory and learning during the completion of the word-recall tests. However, no significant effect was found in students’ ability to complete a reading comprehension. In addition, this study also showed that female students seemed to have significant negative cognitive effect during the word-recall test. The findings of this study therefore showed that, depending on the task, word-recall tests (but not reading comprehension tests) were cognitively affected by music-listening.
- Full Text:
- Date Issued: 2019
Portfolio of original compositions
- Authors: Nabal, Ruhan
- Date: 2018
- Subjects: Composition (Music) Music -- South Africa Suites (Orchestra , Piano music Marimba music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23858 , vital:30630
- Description: This Orchestral Suite was inspired by the art illustrations from Brian Froud’s book ‘Good Faeries Bad Faeries’, where each piece in the suite represents a drawing from his book, portraying three good faeries and three bad and is in many ways a tone poem. Each pieces calls for different orchestration to create individual colour to make each piece unique. Permission was not consented to include the drawings. The line-up is as follows:I. Waters of Wisdom – Overture to the faerie realm (good)II. The Thoughts of the Melancholic Faerie – She contemplates ofpast and present (bad)III. A Banshee Passing – the idea of death as coming unknowingly and going quietly (bad)IV. Introduction to Faerie Lilu – clearing the mist V. The Faerie Lilu – the provocateur of restlessness – she inspires wild dreams, lost fantasies and gives artists their sparks of genius (bad) VI. A Cluster of Hedgerow Pixies – They are very mischievous – in a (good) way.VII. The Dance of the Oboe Faerie – a Finale (good). While he dances, he also sings of the faerie realm.A number of composers inspired me to pursue such a work, and firstly G. Holst has left his mark on me. The first and sixth movement was inspired by the ‘Planets’. The fifth movement is actually in homage to the French composer Frank Martin with the composition ‘Petite symphonie’ where he displays the piano and harpsichord – as I have done. The second and third movements are attempts to portray film music, such as composers H. Zimmerman and D.Elfman. The last movement has many neo-classical elements displayed and I. Stravinsky had a notable influence on this piece. All the composers mentioned here have contributed in more than one piece at some point in time.The theme of the work, the magical theme, always makes me reminisce my childhood where I would in amazement wonder about my grandmothers glorious garden in search of all that is magical, and composing this took me back to that time of innocent, child-like wonder.
- Full Text:
- Date Issued: 2018
- Authors: Nabal, Ruhan
- Date: 2018
- Subjects: Composition (Music) Music -- South Africa Suites (Orchestra , Piano music Marimba music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23858 , vital:30630
- Description: This Orchestral Suite was inspired by the art illustrations from Brian Froud’s book ‘Good Faeries Bad Faeries’, where each piece in the suite represents a drawing from his book, portraying three good faeries and three bad and is in many ways a tone poem. Each pieces calls for different orchestration to create individual colour to make each piece unique. Permission was not consented to include the drawings. The line-up is as follows:I. Waters of Wisdom – Overture to the faerie realm (good)II. The Thoughts of the Melancholic Faerie – She contemplates ofpast and present (bad)III. A Banshee Passing – the idea of death as coming unknowingly and going quietly (bad)IV. Introduction to Faerie Lilu – clearing the mist V. The Faerie Lilu – the provocateur of restlessness – she inspires wild dreams, lost fantasies and gives artists their sparks of genius (bad) VI. A Cluster of Hedgerow Pixies – They are very mischievous – in a (good) way.VII. The Dance of the Oboe Faerie – a Finale (good). While he dances, he also sings of the faerie realm.A number of composers inspired me to pursue such a work, and firstly G. Holst has left his mark on me. The first and sixth movement was inspired by the ‘Planets’. The fifth movement is actually in homage to the French composer Frank Martin with the composition ‘Petite symphonie’ where he displays the piano and harpsichord – as I have done. The second and third movements are attempts to portray film music, such as composers H. Zimmerman and D.Elfman. The last movement has many neo-classical elements displayed and I. Stravinsky had a notable influence on this piece. All the composers mentioned here have contributed in more than one piece at some point in time.The theme of the work, the magical theme, always makes me reminisce my childhood where I would in amazement wonder about my grandmothers glorious garden in search of all that is magical, and composing this took me back to that time of innocent, child-like wonder.
- Full Text:
- Date Issued: 2018
The evolution of the role of the orchestral conductor
- Authors: Snyman, Grant
- Date: 2018
- Subjects: Music , Orchestral music Orchestral music -- Interpretation (Phrasing, dynamics, etc.) Conducting
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23153 , vital:30435
- Description: Orchestral conducting is an art form and profession that has existed for over two centuries – but with little detailed documentation. Thus, the core focus of the treatise is to provide a detailed history of the changing role of the orchestral conductor, his role in orchestral music and the future of orchestral conducting as a profession. The treatise describes the periodical history of the orchestra in relation to the need for a conductor that has developed. It discusses four composer-conductors who had a profound and lasting impact on orchestral conducting as a full-time profession. The treatise also highlights two leading international orchestras. These two international orchestras, with the help of their musical directors, were able to reach new musical achievements in the 20th Century. A broad description of the role of the orchestral conductor in South Africa is provided. Moreover, the researcher explores the reasons why classical music, as an established art form, performed by symphony orchestras, has increasingly struggled internationally as a sustainable industry. Finally, the researcher draws on the theoretical framework and his own experience to make recommendations for future development of conductors as well as research in this field.
- Full Text:
- Date Issued: 2018
- Authors: Snyman, Grant
- Date: 2018
- Subjects: Music , Orchestral music Orchestral music -- Interpretation (Phrasing, dynamics, etc.) Conducting
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23153 , vital:30435
- Description: Orchestral conducting is an art form and profession that has existed for over two centuries – but with little detailed documentation. Thus, the core focus of the treatise is to provide a detailed history of the changing role of the orchestral conductor, his role in orchestral music and the future of orchestral conducting as a profession. The treatise describes the periodical history of the orchestra in relation to the need for a conductor that has developed. It discusses four composer-conductors who had a profound and lasting impact on orchestral conducting as a full-time profession. The treatise also highlights two leading international orchestras. These two international orchestras, with the help of their musical directors, were able to reach new musical achievements in the 20th Century. A broad description of the role of the orchestral conductor in South Africa is provided. Moreover, the researcher explores the reasons why classical music, as an established art form, performed by symphony orchestras, has increasingly struggled internationally as a sustainable industry. Finally, the researcher draws on the theoretical framework and his own experience to make recommendations for future development of conductors as well as research in this field.
- Full Text:
- Date Issued: 2018
Musical expressivity in choral singing
- Authors: Agenbag, Gustel
- Date: 2017
- Subjects: Choral singing , Choirs (Music) , Music -- Psychological aspects
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/13614 , vital:27257
- Description: This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.
- Full Text:
- Date Issued: 2017
- Authors: Agenbag, Gustel
- Date: 2017
- Subjects: Choral singing , Choirs (Music) , Music -- Psychological aspects
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/13614 , vital:27257
- Description: This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.
- Full Text:
- Date Issued: 2017
The changing fortunes of the organ: the viewpoints of church organists in the Anglican churches of Port Elizabeth
- Authors: Stone, Justin
- Date: 2017
- Subjects: Organ (Musical instrument) -- South Africa -- Port Elizabeth Organists -- South Africa -- Port Elizabeth , Church of England -- Organs
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23502 , vital:30569
- Description: This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.
- Full Text:
- Date Issued: 2017
- Authors: Stone, Justin
- Date: 2017
- Subjects: Organ (Musical instrument) -- South Africa -- Port Elizabeth Organists -- South Africa -- Port Elizabeth , Church of England -- Organs
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23502 , vital:30569
- Description: This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.
- Full Text:
- Date Issued: 2017
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