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Sweet Jesus

- Botha, Karika (Recorded by), Sesotho women choir (Performer), Composer not specified

Be alright

- Botha, Karika (Recorded by), Sesotho women choir (Performer), Composer not specified

A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir

- Van Zyl, Lionel

  • Authors: Van Zyl, Lionel
  • Date: 2006
  • Subjects: Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8513 , http://hdl.handle.net/10948/634 , Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
  • Description: This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
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  • Date Issued: 2006

Constructing a web of culture: the case of akKOORd, an Overberg community choir

- Jacobs, Sunell Human

  • Authors: Jacobs, Sunell Human
  • Date: 2010
  • Subjects: Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8506 , http://hdl.handle.net/10948/1254 , Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
  • Description: akKOORd, a community choir in the relatively small southern region of the Overberg, was formed in 2006, and although the choir has only a brief history, its spirit, activities, and concerts have inspired and touched many people. This qualitative study pays attention to aspects of the choir’s history, its performance practice and of the “web” of community members connected to and involved in its activities. Through interviews and personal notes this in-depth study provides a “micronarrative” of this choir within the “web” of the Overberg community itself. It aims to not only interpret this narrative with regard to the meaning behind actions and their symbolic importance in society, but also to explore its relevance in the broader context of current South African cultural discourse. During this research it became evident that policy makers and potential funders regard this predominantly white choir with its Western repertoire as a form of undesirable exclusivity and elitism. This study opposes such a point of view, contending instead that elitism in the form of excellence has the power to defy barriers of social standing and ethnicity, and to unite people through a collective sense of ownership.
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  • Date Issued: 2010

Agreement and coordination in XiTsonga, SeSotho and IsiXhosa: an optimality theoretic perspective

- Mitchley, Hazel

  • Authors: Mitchley, Hazel
  • Date: 2016
  • Language: English
  • Type: Thesis , Masters , MA
  • Identifier: http://hdl.handle.net/10962/3423 , vital:20491
  • Description: This thesis provides a unified Optimality Theoretic analysis of subject-verb agreement with coordinated preverbal subjects in three Southern Bantu languages: Xitsonga (S53), Sesotho (S33), and isiXhosa (S41). This analysis is then used to formulate a typology of agreement resolution strategies and the contexts which trigger them. Although some accounts in the Bantu literature suggest that agreement with coordinate structures is avoided by speakers (e.g. Schadeberg 1992, Voeltz 1971) especially when conjuncts are from different noun classes, I show that there is ample evidence to the contrary, and that the subject marker used is dependent on several factors, including (i) the [-HUMAN] specification on the conjuncts, (ii) whether the conjuncts are singular or plural, (iii) whether or not the conjuncts both carry the same noun class feature, and (iv) the order of the conjuncts. This thesis shows that there are various agreement resolution strategies which can beused: 1) agreement with the [+HUMAN] feature on the conjuncts, 2) agreement with the[-HUMAN] feature on the conjuncts, 3) agreement with the noun class feature on both conjuncts, 4) agreement with the noun class feature on the conjunct closest to the verb, and 5) agreement with the noun class feature on the conjunct furthest from the verb. Not all of these strategies are used by all languages, nor are these strategies interchangeable in the languages which do use them – instead, multiple factors conspire to trigger the use of a specific agreement strategy within a specific agreement featural context. I show that these effects can be captured using Optimality Theory (Prince and Smolensky 2004). The analysis makes use of seven constraints: RES#, MAX[+H], MAX[-H], DEP[-H], MAXNC, DEPNC, and AGREECLOSEST. The hierarchical ranking of these constraints not only accounts for the confinement of particular strategies to specific agreement featural contexts within a language, but also accounts for the cross-linguistic differences in the use of these strategies. I end off by examining the typological implications which follow from the OT analysis provided in this thesis.
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  • Date Issued: 2016

Title not specified

- Choir by men and women, Performer not specified, Composer not specified, Tracey, Hugh

Title not specified

- Choir by men and women, Performer not specified, Composer not specified, Tracey, Hugh

Title not specified

- Choir by men and women, Performer not specified, Composer not specified, Tracey, Hugh

Title not specified

- Choir by men and women, Performer not specified, Composer not specified, Tracey, Hugh

Title not specified

- Choir by men and women, Performer not specified, Composer not specified, Tracey, Hugh

Title not specified

- Choir by men and women, Performer not specified, Composer not specified, Tracey, Hugh

Sepedi oral poetry with reference to kiba traditional dance of South Africa

- Maahlamela, Tebogo David

  • Authors: Maahlamela, Tebogo David
  • Date: 2018
  • Subjects: Northern Sotho poetry , Northern Sotho poetry -- History and criticism , Folk songs, Northern Sotho , Sound poetry -- South Africa , Archival materials -- Conservation and restoration , Spiritualism in literature , Cultural appropriation , Folk poetry, Northern Sotho , Kiba traditional dance , Kiba poetry
  • Language: English
  • Type: text , Thesis , Doctoral , PhD
  • Identifier: http://hdl.handle.net/10962/63209 , vital:28381
  • Description: Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
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  • Date Issued: 2018

An exploratory study of South African choral identity with specific reference to three regional children's choirs

- Swart, Jan-Erik

  • Authors: Swart, Jan-Erik
  • Date: 2012
  • Subjects: Children's choirs , Cultural pluralism
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
  • Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
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  • Date Issued: 2012

Saul Msane: friend or foe of the people? The life of the late nineteenth to early twentieth centuries South African politician and journalist

- Mokoatsi, Thapelo

  • Authors: Mokoatsi, Thapelo
  • Date: 2023-03-30
  • Subjects: Uncatalogued
  • Language: English
  • Type: Academic theses , Doctoral theses , text
  • Identifier: http://hdl.handle.net/10962/409799 , vital:70631 , DOI 10.21504/10962/409802
  • Description: Saul Msane was a prominent founding member of the ANC and an active journalist and editor of the ANC newspaper Abantu-Batho. His career generated controversy. Towards the end of his life, he had a feud with his colleagues in the African National Congress (henceforth Congress) that led to him being labelled isitha sabantu, “the enemy of the people” for his refusal to support the Shilling strike of 1918, an accusation which was retracted a year after his death in 1919. The label of isitha sabantu levelled against Msane, had the effect of ending his political prominence in the Transvaal, forcing him to relocate to kwaNongoma where he died shortly thereafter. Msane’s years in the Congress amounted to about seven years, between 1912, the founding of the Congress, and the demise of his career in 1919. Msane’s seven years in Congress were characterised by controversies, clashes, and conflicts owing to his perceived elitism. In Congress historiography Msane is an obscure and elusive figure, he lives here and there in a footnote, as a supporting statement or a mentioned in mere passing. His marginalisation reveals some of the gaps within the history of Congress and invites us to write about those who did not emerge from the history of Congress necessarily as heroes. This thesis sets out to write a biography of Msane and document his political career beyond that one moment in which he came to be “isitha sabantu”. While Msane’s Congress career was comparably short and filled with tensions, an archive of his life exists. This study is an exploration of that archive to reconstruct the biography of a once prominent leader who dies in political exile from the Congress movement. This thesis sets out to do two key things in relation to reconstructing Msane’s life: Firstly, it reconstructs the longer biography of Msane’s political life by drawing on the existing archives, and thus filling in the South African historical record in that regard. Secondly, at the broader conceptual and historiographical level, it argues that the controversies surrounding Msane’s persona and character illustrate that conceptions of elitism and the nature of being ‘elite’ were key to the politics of Congress at the time. , U-Saul Msane wayengomunye wabasunguli beqembu lika-African National Congress (uKhongolose) futhi eyIntatheli nomhleli wephephandaba i-Abantu-Batho. Umsebenzi ayewenza waba nezingqinamba eziningi ngokwezepolitiki. Ngasekugcineni kwempilo yakhe waba nokungazwani nabaholi ayesebenza nabo kuKhongolose okwadala ukuba abizwe ngesitha sabantu ngenxa yokuba engavumelananga nesiteleka sango-1918 lapho abasebenzi babelwela ukukhushulelwa amaholo. Leligama lokubizwa ngesitha sabantu lahoxiswa ngo 1919 sekudlule unyaka engasekho emhlabeni. Lokubizwa ngesitha sabantu kwalilimaza igama lakhe kwezepolitiki e-Transvaal waze wathutha wayohlala kwaNongoma nokuyilapho ashonela khona. Iminyaka uMsane ayisebenzele uKhongolose yaba isikhombisa, kusukela ekusungulweni kwayo ngo 1912 kuze kufike ekulimaleni komsebenzi wakhe wezepolitiki ngo 1919. Kuleminyaka eyisikhombisa umsebenzi wakhe kuKhongolose wawubhekene nokugxekwa okukhulu nokubukeka njengomuntu onokuzenza ngcono kunabanye abantu. Emlandweni kaKhongolose uMsane akavezwa ngendlela emfanele, kukhulunywa ngaye kudlulwa nje. Lokunganakwa kukaMsane emlandweni kaKhongolose kusiphoqa ukuba sibhale ngabaholi abangaqakanjiswa. Lolucwaningo luveza umlando kaMsane ngokujulile ngaphezu kwangalesikhathi abizwa khona ngesitha sabantu. Noma umsebenzi kaMsane kuKhongolose wabamfushane kunabanye futhi ugcwele izinto kodwa noko ingobo yawo ikhona. Lolucwaningo lucubungula lengobo ukuhlaziya nokubhala kabusha umlando wengqalabutho eyagcina ishonela ngaphandle kombutho kaKhongolose. Loluphando lifisa ukwenza izinto ezimbili: Okokuqala, ibhala kabusha umlando omude wezepolitiki kaMsane kusetshenziswa ulwazi olukhona. Loku kuzosiza ukunothisa umlando wezepolitiki wezwe laseNingizimu Afrika. Okwesibili, ezingeni lobunzululwazi, lolucwaningo luveza ukuthi izinkinga uMsane ahlangabezana nazo zazisukele endleleni okwakubukwa ngayo indaba yokucwasana ngazinga empilo abantu, kwakuyinto ejulile kuKhongolose ukubukeka kwabanye sengathi bazenza ngcono. , Thesis (PhD) -- Faculty of Humanities, History, 2023
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  • Date Issued: 2023-03-30

Confronting Afrikaans diction challenges in non-Afrikaans mother tongue choirs

- Botha, Charlotte

  • Authors: Botha, Charlotte
  • Date: 2014
  • Subjects: Choral singing -- Diction , Afrikaans language -- Diction
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8529 , http://hdl.handle.net/10948/d1020956
  • Description: This study is an initial attempt to identify the most common Afrikaans diction challenges experienced by non-Afrikaans mother tongue speaking choirs, and to explore means of confronting these challenges. No dedicated source exists for choral diction in Afrikaans as a foreign language. This study reviews personal views and literature from various fields that would inform several key elements necessary for the creation of such a source. The primary data for this study was collected through study questionnaires, completed by expert choral conductors who are highly regarded for their success in teaching and performing Afrikaans diction in non-Afrikaans mother tongue speaking choirs, in performance settings such as the ATKV-Applous Choir Competition. Through its proposition of methods for the improvement of Afrikaans diction practices in the non-Afrikaans choral setting, the study promotes the prolific composition of Afrikaans choral literature, and its ubiquitous inclusion in choral repertoire both in South Africa and abroad.
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  • Date Issued: 2014

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

From physics to music: an analysis of the role of overtones in the improvement of choral tone

- Starker, Leonard Bonn

  • Authors: Starker, Leonard Bonn
  • Date: 2011
  • Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
  • Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
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  • Date Issued: 2011

From physics to music: an analysis of the role of overtones in the improvement of choral tone

- Starker, Leonard Bonn

  • Authors: Starker, Leonard Bonn
  • Date: 2011
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8502 , http://hdl.handle.net/10948/1650
  • Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
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  • Date Issued: 2011

(De)constructing the archive : an annotated catalog of the Deon van der Walt Collection in the NMMU Library

- Buys, Frederick Jacobus

  • Authors: Buys, Frederick Jacobus
  • Date: 2014
  • Subjects: Music -- Bibliography -- Catalogs , Archives -- Catalogs , Tenors (Singers) -- South Africa
  • Language: English
  • Type: Thesis , Masters , MMus
  • Identifier: vital:8526 , http://hdl.handle.net/10948/d1020585
  • Description: Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
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  • Date Issued: 2014

The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa

- De Beer, Rudolf

  • Authors: De Beer, Rudolf
  • Date: 2007
  • Subjects: Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
  • Language: English
  • Type: Thesis , Doctoral , DMus
  • Identifier: vital:8514 , http://hdl.handle.net/10948/d1011781 , Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
  • Description: This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
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  • Date Issued: 2007
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