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Vernacular sound technologies: experimenting with reverb in isiXhosa choral recordings

- Ncanywa, Sibusiso

  • Authors: Ncanywa, Sibusiso
  • Date: 2023-10-13
  • Subjects: Folk music Technological innovations , Choral music South Africa , Convolution reverberation , Acoustic signature , Music technology
  • Language: English
  • Type: Academic theses , Master's theses , text
  • Identifier: http://hdl.handle.net/10962/432147 , vital:72846
  • Description: In this thesis, I show how the application of convolution reverb in isiXhosa choral music recordings might engender notions of space in choral music which are acutely linked to issues of identity. To deal with the multitude of music’s spatiality, I turn to two spatial theories of listening, namely, R. Murray Schafer’s notion of schizophonia, in which recorded sound is thought to be separated from its spatial context, and Eric Clarke’s ecological listening, in which sound is intricately bound up with its environment. I present these as two opposing theories which can be used to explain spatial thinking in music technology and suggest that the latter might be more productive in considering recorded sound. Using this ecological notion of spatial listening, I investigate reverb as a marker of spatial identity for isiXhosa choral music and develop in response to this an experimental vernacular reverb technology which might be more keenly attuned to the performance sites of this music. Five objectives underpin this overarching aim. The first is to develop a theoretical framework for considering vernacular sound technologies, specifically reverb. The second objective is to illustrate these theoretical considerations in the practices of choral composers and sound engineers who have recorded this genre of music. The third objective is to develop a set of experimental reverb presets as a response to the theoretical considerations and their manifestations in practice. The last objective is to test these experimental presets in a feedback session with choristers. This research is divided into two parts: theoretical and empirical. Part I considers theories of listening and reverb to develop the notion of vernacular sound technologies. In this section, I draw on secondary literature from sound studies, music perception, music technology, and cultural studies. I theorise here a notion of vernacular reverb by problematising the relationship between space and recording technology currently used in the postproduction of choral music. Part II is concerned with empirical research in three parts employing empirical qualitative research methodologies. The first is an illustrative section in which data is collected on how composers and sound engineers think about acoustics in isiXhosa choral music. The second part of the empirical research synthesises and applies the data through experimentation. In this section, I use the data collected from interviews read against the earlier theoretical review to produce three convolution reverb settings, which are simulated acoustic signatures of local spaces in which Xhosa choral music might be performed. The acoustic signatures are recorded from venues local to the Seven Fountains and Assegaaibos community, situated just outside Makhanda, Eastern Cape. The third section of the research is the collection and analysis of iii feedback from a focus group interview with a local choir. The focus group interview focuses on the thoughts of the choristers on identity and acoustics in music when presented with recorded songs produced with the vernacular reverbs. In conclusion, I argue that the recordings at Seven Fountains and Assegaaibos show that acoustic space is a technological marker of identity, and indigenisation also has to do with the acoustic characteristics of the spaces of choral music performance. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
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  • Date Issued: 2023-10-13

The prominence of choral music in the search for, and preservation of, an African identity: A study focusing on the role of choral composers in the formation of black nationalism during and after the colonial era in South Africa

- Nelani, Athenkosi

  • Authors: Nelani, Athenkosi
  • Date: 2021-10-29
  • Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
  • Language: English
  • Type: Master's theses , text
  • Identifier: http://hdl.handle.net/10962/190965 , vital:45045
  • Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
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  • Date Issued: 2021-10-29

Unkulunkulu uyangazi = The Lord knows me

- Church choir, Manci, PT, Dargie, Dave

Glory to God

- Church choir, Manci, PT, Dargie, Dave

Icala lam elinzima

- Church choir, Manci, PT, Dargie, Dave

INkosi mayibenani = The Lord be with you

- Church choir, Manci, PT, Dargie, Dave

Mvana ka Nkulunkulu = Lamb of God you take away the sins of the world

- Church choir, Manci, PT, Dargie, Dave

Ne lam likhona

- Church choir, Manci, PT, Dargie, Dave

Ngempela Nkosi

- Church choir, Manci, PT, Dargie, Dave

Ngempela Nkosi

- Church choir, Manci, PT, Dargie, Dave

Ngiyavuma ku Nkulunkulu = I believe in the Lord

- Church choir, Manci, PT, Dargie, Dave

Nkosi sihawukele = Lord have mercy

- Church choir, Manci, PT, Dargie, Dave

Nkosi sihawukele = Lord have mercy

- Church choir, Manci, PT, Dargie, Dave

Nkosi sihawukele = Lord have mercy

- Church choir, Manci, PT, Dargie, Dave

Sikhulekele = Pray for us

- Church choir, Manci, PT, Dargie, Dave

Siphe namhlanje isinkwa semihlangemihla = Give us today the bread of life

- Church choir, Manci, PT, Dargie, Dave

Siphe namhlanje isinkwa semihlangemihla = Give us today the bread of life

- Church choir, Manci, PT, Dargie, Dave

Sisindise Nkosi = Redeem us Lord

- Church choir, Manci, PT, Dargie, Dave

Sithethi sinkwa

- Church choir, Manci, PT, Dargie, Dave

Sithethi sinkwa

- Church choir, Manci, PT, Dargie, Dave

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