Vulcanus and Fynbos portfolio orchestral ballet and a chamber work for SSATBarB and two guitars
- Authors: Kinsey, Avril
- Date: 2018
- Subjects: Orchestral music, Arranged -- Parts , Ballets Orchestral music
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: http://hdl.handle.net/10948/31349 , vital:31355
- Description: This DMus composition degree is a portfolio (c. 93 minutes) that focuses on creative work with an extensive text in music notation, which embodies the composer’s creative research. The portfolio comprises two large-scale tonal and extended tonal works inspired by nature and informed by a narrative aesthetic. The two scores include an orchestral ballet in two acts and four scenes, Vulcanus (c. 54 minutes), which was created from a scenario by the composer, and which includes the occasional use of guitar and soprano, and a chamber work for SSATBarB and two guitars in nine movements entitled the Fynbos Suite (c. 39 minutes), inspired by the eco-system fynbos oil paintings of Steven Felmore. Both works can be seen as contributing respectively to the discipline of mainstream orchestral works, and guitar and choral writing. The accompanying commentary on the portfolio provides a rationale for the compositions, and outlines some of the creative processes and inspirational influences behind the works. An overview of the musical forms contextualizes the works within their narrative and visual frameworks. The ballet notes discuss the rationale for choosing ballet and include cultural, musical and extra-musical influences. A detailed scenario of the story with a description of the ballet’s characters and corps de ballet follows, while a table lists the dances and narrative mimetic episodes with tempos and time codes suitable for a choreographer to work from. The Fynbos Suite commentary gives some insight into fynbos within nature, and within the context of the paintings and the musical style. Included in the notes are the composer’s lyrics to four songs, and with the kind permission of the artist, the reproduction of the nine inspirational paintings. The recordings of Vulcanus and the Fynbos Suite were realised from the sound files of the Sibelius notation program. The guitar and the orchestral sounds, as well as the voice in Vulcanus are sampled from the Yamaha DGX 620 library, while the four vocal works of the Fynbos Suite were recorded with the Cape Soloists at the Fismer Hall, Stellenbosch University. The guitar in ‘Light on the Edge of Hope’ and the ‘Glory of Nature’ were performed by the composer. In conclusion to the background notes the creative journey, planned and unplanned, is reflected on, highlighting musical imagination with creative serendipity, and what the experiences of the process and outcome mean to the composer.
- Full Text:
- Date Issued: 2018
- Authors: Kinsey, Avril
- Date: 2018
- Subjects: Orchestral music, Arranged -- Parts , Ballets Orchestral music
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: http://hdl.handle.net/10948/31349 , vital:31355
- Description: This DMus composition degree is a portfolio (c. 93 minutes) that focuses on creative work with an extensive text in music notation, which embodies the composer’s creative research. The portfolio comprises two large-scale tonal and extended tonal works inspired by nature and informed by a narrative aesthetic. The two scores include an orchestral ballet in two acts and four scenes, Vulcanus (c. 54 minutes), which was created from a scenario by the composer, and which includes the occasional use of guitar and soprano, and a chamber work for SSATBarB and two guitars in nine movements entitled the Fynbos Suite (c. 39 minutes), inspired by the eco-system fynbos oil paintings of Steven Felmore. Both works can be seen as contributing respectively to the discipline of mainstream orchestral works, and guitar and choral writing. The accompanying commentary on the portfolio provides a rationale for the compositions, and outlines some of the creative processes and inspirational influences behind the works. An overview of the musical forms contextualizes the works within their narrative and visual frameworks. The ballet notes discuss the rationale for choosing ballet and include cultural, musical and extra-musical influences. A detailed scenario of the story with a description of the ballet’s characters and corps de ballet follows, while a table lists the dances and narrative mimetic episodes with tempos and time codes suitable for a choreographer to work from. The Fynbos Suite commentary gives some insight into fynbos within nature, and within the context of the paintings and the musical style. Included in the notes are the composer’s lyrics to four songs, and with the kind permission of the artist, the reproduction of the nine inspirational paintings. The recordings of Vulcanus and the Fynbos Suite were realised from the sound files of the Sibelius notation program. The guitar and the orchestral sounds, as well as the voice in Vulcanus are sampled from the Yamaha DGX 620 library, while the four vocal works of the Fynbos Suite were recorded with the Cape Soloists at the Fismer Hall, Stellenbosch University. The guitar in ‘Light on the Edge of Hope’ and the ‘Glory of Nature’ were performed by the composer. In conclusion to the background notes the creative journey, planned and unplanned, is reflected on, highlighting musical imagination with creative serendipity, and what the experiences of the process and outcome mean to the composer.
- Full Text:
- Date Issued: 2018
Vulcanus and Fynbos portfolio Orchestral ballet and a chamber work for SSATBarB and two guitars
- Authors: Kinsey, Avril
- Date: 2018
- Subjects: Orchestral music -- Scores , Ballets
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: http://hdl.handle.net/10948/31323 , vital:31364
- Description: This DMus composition degree is a portfolio (c. 93 minutes) that focuses on creative work with an extensive text in music notation, which embodies the composer’s creative research. The portfolio comprises two large-scale tonal and extended tonal works inspired by nature and informed by a narrative aesthetic. The two scores include an orchestral ballet in two acts and four scenes, Vulcanus (c. 54 minutes), which was created from a scenario by the composer, and which includes the occasional use of guitar and soprano, and a chamber work for SSATBarB and two guitars in nine movements entitled the Fynbos Suite (c. 39 minutes), inspired by the eco-system fynbos oil paintings of Steven Felmore. Both works can be seen as contributing respectively to the discipline of mainstream orchestral works, and guitar and choral writing. The accompanying commentary on the portfolio provides a rationale for the compositions, and outlines some of the creative processes and inspirational influences behind the works. An overview of the musical forms contextualizes the works within their narrative and visual frameworks. The ballet notes discuss the rationale for choosing ballet and include cultural, musical and extramusical influences. A detailed scenario of the story with a description of the ballet’s characters and corps de ballet follows, while a table lists the dances and narrative mimetic episodes with tempos and time codes suitable for a choreographer to work from. The Fynbos Suite commentary gives some insight into fynbos within nature, and within the context of the paintings and the musical style. Included in the notes are the composer’s lyrics to four songs, and with the kind permission of the artist, the reproduction of the nine inspirational paintings. The recordings of Vulcanus and the Fynbos Suite were realised from the sound files of the Sibelius notation program. The guitar and the orchestral sounds, as well as the voice in Vulcanus are sampled from the Yamaha DGX 620 library, while the four vocal works of the Fynbos Suite were recorded with the Cape Soloists at the Fismer Hall, Stellenbosch University. The guitar in ‘Light on the Edge of Hope’ and the ‘Glory of Nature’ were performed by the composer. In conclusion to the background notes the creative journey, planned and unplanned, is reflected on, highlighting musical imagination with creative serendipity, and what the experiences of the process and outcome mean to the composer.
- Full Text:
- Date Issued: 2018
- Authors: Kinsey, Avril
- Date: 2018
- Subjects: Orchestral music -- Scores , Ballets
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: http://hdl.handle.net/10948/31323 , vital:31364
- Description: This DMus composition degree is a portfolio (c. 93 minutes) that focuses on creative work with an extensive text in music notation, which embodies the composer’s creative research. The portfolio comprises two large-scale tonal and extended tonal works inspired by nature and informed by a narrative aesthetic. The two scores include an orchestral ballet in two acts and four scenes, Vulcanus (c. 54 minutes), which was created from a scenario by the composer, and which includes the occasional use of guitar and soprano, and a chamber work for SSATBarB and two guitars in nine movements entitled the Fynbos Suite (c. 39 minutes), inspired by the eco-system fynbos oil paintings of Steven Felmore. Both works can be seen as contributing respectively to the discipline of mainstream orchestral works, and guitar and choral writing. The accompanying commentary on the portfolio provides a rationale for the compositions, and outlines some of the creative processes and inspirational influences behind the works. An overview of the musical forms contextualizes the works within their narrative and visual frameworks. The ballet notes discuss the rationale for choosing ballet and include cultural, musical and extramusical influences. A detailed scenario of the story with a description of the ballet’s characters and corps de ballet follows, while a table lists the dances and narrative mimetic episodes with tempos and time codes suitable for a choreographer to work from. The Fynbos Suite commentary gives some insight into fynbos within nature, and within the context of the paintings and the musical style. Included in the notes are the composer’s lyrics to four songs, and with the kind permission of the artist, the reproduction of the nine inspirational paintings. The recordings of Vulcanus and the Fynbos Suite were realised from the sound files of the Sibelius notation program. The guitar and the orchestral sounds, as well as the voice in Vulcanus are sampled from the Yamaha DGX 620 library, while the four vocal works of the Fynbos Suite were recorded with the Cape Soloists at the Fismer Hall, Stellenbosch University. The guitar in ‘Light on the Edge of Hope’ and the ‘Glory of Nature’ were performed by the composer. In conclusion to the background notes the creative journey, planned and unplanned, is reflected on, highlighting musical imagination with creative serendipity, and what the experiences of the process and outcome mean to the composer.
- Full Text:
- Date Issued: 2018
The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa
- 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.
- Full Text:
- Date Issued: 2007
- 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.
- Full Text:
- Date Issued: 2007
Towards a theory of choral conducting gestures
- Oosthuizen, Benjamin William
- Authors: Oosthuizen, Benjamin William
- Date: 2007
- Subjects: Choral conducting
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8505 , http://hdl.handle.net/10948/589 , Choral conducting
- Description: It is an oversimplification to look only at the manner in which a two-dimensional drawing suggests a three-dimensional movement in order to study choral conducting gestures. It must be recognised that there is a myriad of tacit aspects of knowledge surrounding conducting gestures. These aspects of tacit knowledge might be the reason why the teaching of conducting is done mostly in a continuous practicum, where the apprentice learns from the master, because in the practical situation the novice learns not only explicit knowledge, but also tacit knowledge. On the other hand, it is vital that the process of categorising and theorising about gestures continues in order to at least gain a better explicit knowledge of the process. In doing so, a theoretical knowledge base will strengthen the body of knowledge. This explicit knowledge should contain information with regard to the anatomy of the conductor, a basic understanding of a balanced posture, bilateral symmetry and vertical alignment, and a basic knowledge which will help to understand which main muscle groups are responsible for which basic movements involving gestures. The study of gestures from a theoretical point of view is barely more than five decades old. The demands which 20th and 21st century composers make on conductors question the traditional approaches of the functions of the hands. It has become essential for a conductor to develop greater skill of ambidexterity in order to cope with these demands. Despite the notion by some authors that choral conducting gestures employ standard gestures, it has been shown in this study that this is simply not the case. An overview of the work of authors in the field of conducting gestures was presented through a literature study. Concepts and their definitions have been selected and explained through the answering of research questions. Definitions of parameters and functionality of gestures were clarified to decide which gestures were the most appropriate in certain circumstances. This theory aims to be both descriptive and normative. It is descriptive in the sense that the concepts and issues and relationships around the characteristic aspects of gestures are indicated. It is normative in terms of the suggestions offered with regard to issues pertaining to gestures. This thesis sets out to contribute to the formulation of theoretical aspects of choral conducting gestures in an effort to codify and structure knowledge which is often stored in composers minds and experience, in an effort to pass down this knowledge to other apprentices in the field.
- Full Text:
- Date Issued: 2007
- Authors: Oosthuizen, Benjamin William
- Date: 2007
- Subjects: Choral conducting
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8505 , http://hdl.handle.net/10948/589 , Choral conducting
- Description: It is an oversimplification to look only at the manner in which a two-dimensional drawing suggests a three-dimensional movement in order to study choral conducting gestures. It must be recognised that there is a myriad of tacit aspects of knowledge surrounding conducting gestures. These aspects of tacit knowledge might be the reason why the teaching of conducting is done mostly in a continuous practicum, where the apprentice learns from the master, because in the practical situation the novice learns not only explicit knowledge, but also tacit knowledge. On the other hand, it is vital that the process of categorising and theorising about gestures continues in order to at least gain a better explicit knowledge of the process. In doing so, a theoretical knowledge base will strengthen the body of knowledge. This explicit knowledge should contain information with regard to the anatomy of the conductor, a basic understanding of a balanced posture, bilateral symmetry and vertical alignment, and a basic knowledge which will help to understand which main muscle groups are responsible for which basic movements involving gestures. The study of gestures from a theoretical point of view is barely more than five decades old. The demands which 20th and 21st century composers make on conductors question the traditional approaches of the functions of the hands. It has become essential for a conductor to develop greater skill of ambidexterity in order to cope with these demands. Despite the notion by some authors that choral conducting gestures employ standard gestures, it has been shown in this study that this is simply not the case. An overview of the work of authors in the field of conducting gestures was presented through a literature study. Concepts and their definitions have been selected and explained through the answering of research questions. Definitions of parameters and functionality of gestures were clarified to decide which gestures were the most appropriate in certain circumstances. This theory aims to be both descriptive and normative. It is descriptive in the sense that the concepts and issues and relationships around the characteristic aspects of gestures are indicated. It is normative in terms of the suggestions offered with regard to issues pertaining to gestures. This thesis sets out to contribute to the formulation of theoretical aspects of choral conducting gestures in an effort to codify and structure knowledge which is often stored in composers minds and experience, in an effort to pass down this knowledge to other apprentices in the field.
- Full Text:
- Date Issued: 2007
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