‘Opera and music theatre’
- Authors: Brukman, Jeffrey J
- Date: 2023
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/468516 , vital:77086 , https://doi.org/10.1080/10137548.2023.2265252
- Description: In South Africa, from the first performances given by northern hemisphere-based touring companies in the 1800s through to the creation of state-funded Arts Councils used to promote high western culture during the time of apartheid, the opera genre has always occupied contested territory. Today, it still occupies disputed space with opera productions having to navigate difficult questions around cultural diversity, social relevance, societal inclusivity as well as financing. Despite the many successes of personal triumph and the creation of productions representing high standards of performance integrity, among the wider society opera is frequently considered to represent the cultural tastes of a small (often elite) minority. These concerns are common across the African continent from Cape Town to Cairo and beyond. In general, these issues are also replicated in terms of musical theatre.
- Full Text:
- Date Issued: 2023
- Authors: Brukman, Jeffrey J
- Date: 2023
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/468516 , vital:77086 , https://doi.org/10.1080/10137548.2023.2265252
- Description: In South Africa, from the first performances given by northern hemisphere-based touring companies in the 1800s through to the creation of state-funded Arts Councils used to promote high western culture during the time of apartheid, the opera genre has always occupied contested territory. Today, it still occupies disputed space with opera productions having to navigate difficult questions around cultural diversity, social relevance, societal inclusivity as well as financing. Despite the many successes of personal triumph and the creation of productions representing high standards of performance integrity, among the wider society opera is frequently considered to represent the cultural tastes of a small (often elite) minority. These concerns are common across the African continent from Cape Town to Cairo and beyond. In general, these issues are also replicated in terms of musical theatre.
- Full Text:
- Date Issued: 2023
Creative ethnomusicology and African art music: a close musical reading of wood and clay, kundi dreams and umrhubhe geeste by Anthony Caplan
- Authors: Brukman, Jeffrey J
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/481831 , vital:78589 , https://doi.org/10.21504/amj.v10i4.2234
- Description: This article deals with Anthony Caplan's application of African art music through the lens of three works whose instrumentation and compositional processes result in pieces that transcend conventional boundaries. These works emerge as integrated artistic products exceeding the limitations of conventional musical expression. Through close musical readings of Wood and Clay, Kundi Dreams and Umrhubhe Geeste, Caplan's employment of "creative ethnomusicology” (term first used by Akin Euba) becomes evident as his knowledge, experience and familiarity with a wide range of musical styles and cultures coalesce in the creation of original works of musical art. Combining either the udu, Kundi harp or umrhubhe with the oboe Caplan's compositional amalgam merges sonic qualities from African and Western musical domains, including aspects of Eastern musicmaking. Evincing the attributes of African art music-labelled by Euba as African-European art music-Caplan's three works represent a growing body of repertoire from South Africa (a relative latecomer to this style of writing) embodying the essence of African art music.
- Full Text:
- Date Issued: 2017
- Authors: Brukman, Jeffrey J
- Date: 2017
- Subjects: To be catalogued
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/481831 , vital:78589 , https://doi.org/10.21504/amj.v10i4.2234
- Description: This article deals with Anthony Caplan's application of African art music through the lens of three works whose instrumentation and compositional processes result in pieces that transcend conventional boundaries. These works emerge as integrated artistic products exceeding the limitations of conventional musical expression. Through close musical readings of Wood and Clay, Kundi Dreams and Umrhubhe Geeste, Caplan's employment of "creative ethnomusicology” (term first used by Akin Euba) becomes evident as his knowledge, experience and familiarity with a wide range of musical styles and cultures coalesce in the creation of original works of musical art. Combining either the udu, Kundi harp or umrhubhe with the oboe Caplan's compositional amalgam merges sonic qualities from African and Western musical domains, including aspects of Eastern musicmaking. Evincing the attributes of African art music-labelled by Euba as African-European art music-Caplan's three works represent a growing body of repertoire from South Africa (a relative latecomer to this style of writing) embodying the essence of African art music.
- Full Text:
- Date Issued: 2017
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