Perceptions of African musical arts education in foundation and intermediate phases in government schools as seen through the South African academy since 2011: an exploration through meta-ethnography
- Chirombo, Ilana Elize Caroline
- Authors: Chirombo, Ilana Elize Caroline
- Date: 2023-10-13
- Subjects: Music Instruction and study South Africa , Music of Africa , Arts, African , Traditional knowledge , Qualitative research , Ethnography
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425366 , vital:72233
- Description: The aim of this study is twofold: first, to understand meta-ethnography as a tool of synthesis; second, to use this methodology to explore perceptions of African musical arts education in the Foundation and Intermediate Phases in government schools in South Africa after 2011. Meta-ethnography is a methodology used to synthesise qualitative material by means of seven distinct phases: getting started; deciding what is relevant to the initial interest; reading the studies; determining how they are related; translating the studies into one another; weaving them together into a synthesis; and expressing the synthesis. This study synthesises five articles discovered through a deep search of the literature. Through the process of synthesis, a narrative emerges that connects past prejudice in music education in South Africa to present day educational inequality, one that looks towards a future in which children’s agency is harnessed in the multicultural world we live in to teach music in a relevant, contextual way. The synthesis extracts perceptions on colonialism and apartheid; educational access; post-apartheid curricula; music education pedagogies; informal music making; children’s games and agency; into the classroom; and how to assess. These themes weave a clear perspective on African musical arts education, and a reciprocal synthesis of the views of the articles’ authors. This study finds meta-ethnography to be a rigorous, understandable methodological tool for qualitative synthesis, one which serves the purpose of researchers, no matter the depth of their engagement with the synthesis. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Chirombo, Ilana Elize Caroline
- Date: 2023-10-13
- Subjects: Music Instruction and study South Africa , Music of Africa , Arts, African , Traditional knowledge , Qualitative research , Ethnography
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425366 , vital:72233
- Description: The aim of this study is twofold: first, to understand meta-ethnography as a tool of synthesis; second, to use this methodology to explore perceptions of African musical arts education in the Foundation and Intermediate Phases in government schools in South Africa after 2011. Meta-ethnography is a methodology used to synthesise qualitative material by means of seven distinct phases: getting started; deciding what is relevant to the initial interest; reading the studies; determining how they are related; translating the studies into one another; weaving them together into a synthesis; and expressing the synthesis. This study synthesises five articles discovered through a deep search of the literature. Through the process of synthesis, a narrative emerges that connects past prejudice in music education in South Africa to present day educational inequality, one that looks towards a future in which children’s agency is harnessed in the multicultural world we live in to teach music in a relevant, contextual way. The synthesis extracts perceptions on colonialism and apartheid; educational access; post-apartheid curricula; music education pedagogies; informal music making; children’s games and agency; into the classroom; and how to assess. These themes weave a clear perspective on African musical arts education, and a reciprocal synthesis of the views of the articles’ authors. This study finds meta-ethnography to be a rigorous, understandable methodological tool for qualitative synthesis, one which serves the purpose of researchers, no matter the depth of their engagement with the synthesis. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
Singing madness: three performative analyses of the “mad scene” from Lucia di Lammermoor
- Authors: Le Kay, Jo-Nette
- Date: 2023-10-13
- Subjects: Mental illness in music , Bel canto , Donizetti, Gaetano, 1797-1848. Lucia di Lammermoor. Dolce suono , Coloratura soprano , Embellishment (Vocal music) , Performativity
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425377 , vital:72234
- Description: This study describes three internationally recognised sopranos and their presentations of character psychology on stage, during their performances of the famous “mad scene” from Gaetano Donizetti’s opera Lucia di Lammermoor. These sopranos are Joan Sutherland, Mariella Devia, and Lisette Oropesa. I use Margaret Kartomi’s (2014) model of performativity to interpret the “madness” depicted by the three selected sopranos, as based on my interpretations of commercially released audio-visual recordings of their performances in the role of Lucia. Through analysing these performances with the help of Kartomi’s performativity model (which focuses on persona, emotion-and intersubjectivity, and reception), my research determines – with speculative interpretation, and within the reasonable limits of standard psychiatric frameworks – which mental illnesses the sopranos can be understood to have portrayed in their interpretations of the role of Lucia. The study’s goal is not to make an accurate mental health diagnosis of someone’s portrayal of a fictional character. (Considering the fact that one cannot make accurate mental health diagnoses for people who do not exist.) Rather, my focus is to discover which dramatic and possibly musical characteristics are utilised to perform this fictional character and give expressive content to her “madness”. The concept of “madness” and its psychological characterisation during performance thus becomes the framework from which to interpret and understand vocal and acting techniques related to opera in general and to bel canto more specifically. My research findings are that the three performers use facial expressions, different aspects of using the voice through bel canto singing, and body movements as a way of expression. Bel canto characteristics include coloratura embellishments, fioritura, melismas, messa di voce, squillo and chiaroscuro. The sopranos also show musical and dramatic elements in how they respond to the flute or glass harmonica during the ‘Mad Scene’ – which counts as the personae expressed by the performers. These personae are further applied in the emotional and intersubjectivity and the reception aspects of Kartomi’s performativity model. In the emotional and intersubjectivity aspect, the chorus and other characters singing on stage are read as emphasising the reaction of society on the mentally dysfunctional behaviour enacted by the sopranos. In the reception aspect, reviewers are used to filling in for audience members. I read their reactions as contributing factors in forming an understanding of the interpretations of the “mad scene” performed by the three sopranos. My reading of the three interpretations of the “mad scene” goes further by subjectively interpreting how these sopranos approximate different states of mental collapse. These readings include approximations of psychosis such as mania, dissociative personality disorder, and paranoid schizophrenic behaviour. Always, though, these mental health behaviours are identified as approximations to better understand vocal and acting techniques. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Le Kay, Jo-Nette
- Date: 2023-10-13
- Subjects: Mental illness in music , Bel canto , Donizetti, Gaetano, 1797-1848. Lucia di Lammermoor. Dolce suono , Coloratura soprano , Embellishment (Vocal music) , Performativity
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425377 , vital:72234
- Description: This study describes three internationally recognised sopranos and their presentations of character psychology on stage, during their performances of the famous “mad scene” from Gaetano Donizetti’s opera Lucia di Lammermoor. These sopranos are Joan Sutherland, Mariella Devia, and Lisette Oropesa. I use Margaret Kartomi’s (2014) model of performativity to interpret the “madness” depicted by the three selected sopranos, as based on my interpretations of commercially released audio-visual recordings of their performances in the role of Lucia. Through analysing these performances with the help of Kartomi’s performativity model (which focuses on persona, emotion-and intersubjectivity, and reception), my research determines – with speculative interpretation, and within the reasonable limits of standard psychiatric frameworks – which mental illnesses the sopranos can be understood to have portrayed in their interpretations of the role of Lucia. The study’s goal is not to make an accurate mental health diagnosis of someone’s portrayal of a fictional character. (Considering the fact that one cannot make accurate mental health diagnoses for people who do not exist.) Rather, my focus is to discover which dramatic and possibly musical characteristics are utilised to perform this fictional character and give expressive content to her “madness”. The concept of “madness” and its psychological characterisation during performance thus becomes the framework from which to interpret and understand vocal and acting techniques related to opera in general and to bel canto more specifically. My research findings are that the three performers use facial expressions, different aspects of using the voice through bel canto singing, and body movements as a way of expression. Bel canto characteristics include coloratura embellishments, fioritura, melismas, messa di voce, squillo and chiaroscuro. The sopranos also show musical and dramatic elements in how they respond to the flute or glass harmonica during the ‘Mad Scene’ – which counts as the personae expressed by the performers. These personae are further applied in the emotional and intersubjectivity and the reception aspects of Kartomi’s performativity model. In the emotional and intersubjectivity aspect, the chorus and other characters singing on stage are read as emphasising the reaction of society on the mentally dysfunctional behaviour enacted by the sopranos. In the reception aspect, reviewers are used to filling in for audience members. I read their reactions as contributing factors in forming an understanding of the interpretations of the “mad scene” performed by the three sopranos. My reading of the three interpretations of the “mad scene” goes further by subjectively interpreting how these sopranos approximate different states of mental collapse. These readings include approximations of psychosis such as mania, dissociative personality disorder, and paranoid schizophrenic behaviour. Always, though, these mental health behaviours are identified as approximations to better understand vocal and acting techniques. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
The use of creative-arts therapies in treating trauma-related mental health conditions in South Africa: perspectives from three practising creative-arts therapists
- Makube, Tshegofatso Bennia Basetsana
- Authors: Makube, Tshegofatso Bennia Basetsana
- Date: 2023-10-13
- Subjects: Arts Therapeutic use , Mental health South Africa , Mental health services South Africa , Health services accessibility South Africa , Psychological trauma , Stigma (Social psychology) , Mental illness Social aspects South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425399 , vital:72235
- Description: Multiple factors contribute to the prevailing mental health conditions of South Africans. According to Kaminer and Eagle (2010, p.8), 75% of South Africans are trauma survivors, half of whom have experienced multiple traumas, some directly and some indirectly. However, many trauma survivors are not adequately treated due to the limited access and availability of mental health specialists in the country. Thus, mainstream medical treatments ought to be supplemented by alternative forms of therapy such as creative-arts therapy that cater to the wide demographic range of citizens in South Africa. This research aims to explore the efficacy of creative-arts therapies as a treatment for trauma-related mental health conditions in South Africa from the perspectives of three practising creative-arts therapists. The research is a qualitative study and uses Interpretive Phenomenological Analysis (IPA) to interpret the data. The research participants consisted of three accredited creative-art therapists practising in Music, Art, and Dance. The participants were interviewed using semi-structured, in-depth interviews which were conducted online. The interview data was transcribed and analysed using the IPA framework provided by Smith, Flowers and Larkin (2009). The results yielded three superordinate themes which were supported by eight subordinate themes. The results suggest that creative-arts therapies are underutilized in South Africa due to a lack of public awareness and general (mis)perceptions about mental health conditions. Furthermore, access to these therapies in formal settings is limited as they are not offered as treatment options in public health facilities, which negatively impacts the viability of creative-arts therapies practice in the country. Creative-arts therapies offer several unique benefits to individuals of all ages, backgrounds and abilities as they do not require prior artistic knowledge or experience to participate in treatment. In addition, they are non-verbal which helps to bridge the language and cultural barriers that often arise as a result of South Africa’s diverse cultural population. Finally, creative-arts therapies are an effective method of treating mental health conditions incurred through trauma as they focus on accessing stored trauma in the body or unconscious mind through a natural and non-judgemental platform of creative expression. As a result, they address the physical, emotional, psychological, and cognitive effects of trauma while empowering the individual. In conclusion, this research suggests that creative-arts therapies are highly effective in the treatment of trauma-related mental health conditions, particularly in a country like South Africa which experiences high incidents of trauma. They should be better integrated into public health care facilities so that they are accessible to the general public. This will result in an increase in the use of creative-arts therapies as a treatment option for mental health conditions, particularly those related to trauma. It would also help to address the limited awareness and poor perceptions of the nature of mental health, mental illness, mental health care and mental health care services. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Makube, Tshegofatso Bennia Basetsana
- Date: 2023-10-13
- Subjects: Arts Therapeutic use , Mental health South Africa , Mental health services South Africa , Health services accessibility South Africa , Psychological trauma , Stigma (Social psychology) , Mental illness Social aspects South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425399 , vital:72235
- Description: Multiple factors contribute to the prevailing mental health conditions of South Africans. According to Kaminer and Eagle (2010, p.8), 75% of South Africans are trauma survivors, half of whom have experienced multiple traumas, some directly and some indirectly. However, many trauma survivors are not adequately treated due to the limited access and availability of mental health specialists in the country. Thus, mainstream medical treatments ought to be supplemented by alternative forms of therapy such as creative-arts therapy that cater to the wide demographic range of citizens in South Africa. This research aims to explore the efficacy of creative-arts therapies as a treatment for trauma-related mental health conditions in South Africa from the perspectives of three practising creative-arts therapists. The research is a qualitative study and uses Interpretive Phenomenological Analysis (IPA) to interpret the data. The research participants consisted of three accredited creative-art therapists practising in Music, Art, and Dance. The participants were interviewed using semi-structured, in-depth interviews which were conducted online. The interview data was transcribed and analysed using the IPA framework provided by Smith, Flowers and Larkin (2009). The results yielded three superordinate themes which were supported by eight subordinate themes. The results suggest that creative-arts therapies are underutilized in South Africa due to a lack of public awareness and general (mis)perceptions about mental health conditions. Furthermore, access to these therapies in formal settings is limited as they are not offered as treatment options in public health facilities, which negatively impacts the viability of creative-arts therapies practice in the country. Creative-arts therapies offer several unique benefits to individuals of all ages, backgrounds and abilities as they do not require prior artistic knowledge or experience to participate in treatment. In addition, they are non-verbal which helps to bridge the language and cultural barriers that often arise as a result of South Africa’s diverse cultural population. Finally, creative-arts therapies are an effective method of treating mental health conditions incurred through trauma as they focus on accessing stored trauma in the body or unconscious mind through a natural and non-judgemental platform of creative expression. As a result, they address the physical, emotional, psychological, and cognitive effects of trauma while empowering the individual. In conclusion, this research suggests that creative-arts therapies are highly effective in the treatment of trauma-related mental health conditions, particularly in a country like South Africa which experiences high incidents of trauma. They should be better integrated into public health care facilities so that they are accessible to the general public. This will result in an increase in the use of creative-arts therapies as a treatment option for mental health conditions, particularly those related to trauma. It would also help to address the limited awareness and poor perceptions of the nature of mental health, mental illness, mental health care and mental health care services. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
Vernacular sound technologies: experimenting with reverb in isiXhosa choral recordings
- Authors: Ncanywa, Sibusiso
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/432147 , vital:72846
- Description: Access restricted. Expected release date 2025. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Ncanywa, Sibusiso
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/432147 , vital:72846
- Description: Access restricted. Expected release date 2025. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
Instrument building as a tool for the revitalisation and revaluing of traditional music transmission: An investigation in Tshandama and Mbahe in Venda, South Africa
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Instrument making , Ecomusicology South Africa Venda , Venda (African people) Music , Group identity South Africa Venda , Musical instruments South Africa Venda , Environmental awareness
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Instrument making , Ecomusicology South Africa Venda , Venda (African people) Music , Group identity South Africa Venda , Musical instruments South Africa Venda , Environmental awareness
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
A critical analysis of Professor Andrew Tracey’s contribution to African music pedagogy and the field of applied ethnomusicology
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
The soul of Mozambique: an autoethnographic and performance-based study on the correlation of glabalisation, Chopi people migrations and the reinterpretation of timbila music in Mozambique
- Authors: Bande Júnior, Venâncio
- Date: 2022-10-14
- Subjects: Timbila , Chopi (African people) Mozambique , Music festivals Mozambique , Traditional knowledge , Music and globalization , Modernity , Traditional folk music
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406818 , vital:70310
- Description: This is an autoethnographic and performance-based study on the correlation between indigenous and modern cultures. It discusses the influence of globalisation, modernity, and of the Chopi people migrations to Maputo, the main city of Mozambique and to gold and platinum mines in South Africa, on timbila music. Timbila is both the name of a musical instrument (xylophone) and of a cultural manifestation, practiced by the Chopi people from Mozambique. It is one of the most documented music and dance cultures in Mozambique and was proclaimed as a masterpiece of the oral and immaterial heritage of humanity by UNESCO in 2005. The oldest references by Father Andre Fernandes date from the 16th century. However, the most well-known timbila sources were written and recorded by Hugh Tracey, the founder of the International Library of African Music (ILAM), from 1940s. All these sources were based on traditional timbila music. None refers to contemporary timbila music, which is a mixture of timbila with Western musical instruments. The research is thus based on both historical and is new research to understand the role of the phenomena mentioned above to the reinterpretation of timbila music over the time. Performance based and autoethnography methods were selected because of my role as a pedagogue of the music and culture of timbila, allowing me to express my knowledge on this cultural expression. Literature review and interviews are the two procedures of data collecting employed to get an understanding of the research methods; the phenomena of modernity, globalisation and of the Chopis migration for the searching of better living conditions in Maputo and South Africa; and the approaches of different scholars who have written about timbila. The use of these methods and methodologies, allowed me to conclude that, Chopis migrations, modernity and globalisation has allowed the emergence of a modern version of timbila music; internationalisation and dissemination of this musical expression; and contributes to the extinction of traditional timbila orchestras in Zavala. Despite considerable studies on timbila music and culture, this thesis is important and pioneering, from the perspective of studying the influence of Chopis migrations, globalisation and modernity on timbila and is one of the few sources that approach the contemporary timbila music. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Bande Júnior, Venâncio
- Date: 2022-10-14
- Subjects: Timbila , Chopi (African people) Mozambique , Music festivals Mozambique , Traditional knowledge , Music and globalization , Modernity , Traditional folk music
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406818 , vital:70310
- Description: This is an autoethnographic and performance-based study on the correlation between indigenous and modern cultures. It discusses the influence of globalisation, modernity, and of the Chopi people migrations to Maputo, the main city of Mozambique and to gold and platinum mines in South Africa, on timbila music. Timbila is both the name of a musical instrument (xylophone) and of a cultural manifestation, practiced by the Chopi people from Mozambique. It is one of the most documented music and dance cultures in Mozambique and was proclaimed as a masterpiece of the oral and immaterial heritage of humanity by UNESCO in 2005. The oldest references by Father Andre Fernandes date from the 16th century. However, the most well-known timbila sources were written and recorded by Hugh Tracey, the founder of the International Library of African Music (ILAM), from 1940s. All these sources were based on traditional timbila music. None refers to contemporary timbila music, which is a mixture of timbila with Western musical instruments. The research is thus based on both historical and is new research to understand the role of the phenomena mentioned above to the reinterpretation of timbila music over the time. Performance based and autoethnography methods were selected because of my role as a pedagogue of the music and culture of timbila, allowing me to express my knowledge on this cultural expression. Literature review and interviews are the two procedures of data collecting employed to get an understanding of the research methods; the phenomena of modernity, globalisation and of the Chopis migration for the searching of better living conditions in Maputo and South Africa; and the approaches of different scholars who have written about timbila. The use of these methods and methodologies, allowed me to conclude that, Chopis migrations, modernity and globalisation has allowed the emergence of a modern version of timbila music; internationalisation and dissemination of this musical expression; and contributes to the extinction of traditional timbila orchestras in Zavala. Despite considerable studies on timbila music and culture, this thesis is important and pioneering, from the perspective of studying the influence of Chopis migrations, globalisation and modernity on timbila and is one of the few sources that approach the contemporary timbila music. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
Performing Emil Hartmann – The Importance of Musical Contextualisation: A practice-based research project
- Authors: Robertson, Garreth Damon
- Date: 2021-10-29
- Subjects: Hartmann, Emil, 1836-1898 , Hartmann, Emil, 1836-1898 Criticism and interpretation History 19th century , Practice (Philosophy) , Research Methodology , Contextualism (Philosophy) , Music Denmark History and criticism , Music appreciation , Musical analysis
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190771 , vital:45026
- Description: When embarking on a journey of preparing a musical work for performance, a contextualisation process is undertaken which informs the performer/s of the factors which govern the parameters of the work. In this study, the author performed Emil Hartmann’s piano trio op. 10 as a part of an integrated master’s degree program. As the composer was not a part of mainland European musical society, information on his life and work was difficult to access, which presented the performer with a contextualisation problem. This study aimed to highlight the process of contextualisation, in the absence of sufficient literary material, through the lens of Emil Hartmann’s piano trio op. 10. The research used a three-pronged methodological approach in order to construct the narrative around Hartmann’s life and composition. Through a structured process of using practice-based research to analyse the creative process undertaken by the practitioners, alongside a micro-historical and analytical methodology, the study builds layers of understanding to inform Hartmann’s narrative, and thus provides interpretational insight into the execution of the work. The research finds that, although it is possible to interpret a musical work based on the musical score, there are layers of depth which cannot be accessed without a contextual understanding of the composer and the conditions in which the composition was written. Through forming the narrative on Emil Hartmann and his piano trio, the research uses the methodology to highlight a method which can be undertaken in the absence of contextual knowledge, and thus presents a contextual understanding of Emil Hartmann’s narrative. With the constructed knowledge, the author uses the findings based on the methodological approaches to weave a narrative around the life of Emil Hartmann. Applying the information discovered in the findings, interpretational approaches are discussed to inform future performances of the work. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Robertson, Garreth Damon
- Date: 2021-10-29
- Subjects: Hartmann, Emil, 1836-1898 , Hartmann, Emil, 1836-1898 Criticism and interpretation History 19th century , Practice (Philosophy) , Research Methodology , Contextualism (Philosophy) , Music Denmark History and criticism , Music appreciation , Musical analysis
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190771 , vital:45026
- Description: When embarking on a journey of preparing a musical work for performance, a contextualisation process is undertaken which informs the performer/s of the factors which govern the parameters of the work. In this study, the author performed Emil Hartmann’s piano trio op. 10 as a part of an integrated master’s degree program. As the composer was not a part of mainland European musical society, information on his life and work was difficult to access, which presented the performer with a contextualisation problem. This study aimed to highlight the process of contextualisation, in the absence of sufficient literary material, through the lens of Emil Hartmann’s piano trio op. 10. The research used a three-pronged methodological approach in order to construct the narrative around Hartmann’s life and composition. Through a structured process of using practice-based research to analyse the creative process undertaken by the practitioners, alongside a micro-historical and analytical methodology, the study builds layers of understanding to inform Hartmann’s narrative, and thus provides interpretational insight into the execution of the work. The research finds that, although it is possible to interpret a musical work based on the musical score, there are layers of depth which cannot be accessed without a contextual understanding of the composer and the conditions in which the composition was written. Through forming the narrative on Emil Hartmann and his piano trio, the research uses the methodology to highlight a method which can be undertaken in the absence of contextual knowledge, and thus presents a contextual understanding of Emil Hartmann’s narrative. With the constructed knowledge, the author uses the findings based on the methodological approaches to weave a narrative around the life of Emil Hartmann. Applying the information discovered in the findings, interpretational approaches are discussed to inform future performances of the work. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
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
- 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
- Full Text:
- Date Issued: 2021-10-29
- 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
- Full Text:
- Date Issued: 2021-10-29
Composition Portfolio
- Authors: Appollis, Sylvester
- Date: 201u
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193476 , vital:45335
- Description: Composition portfolio. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 201u
- Full Text:
- Date Issued: 201u
- Authors: Appollis, Sylvester
- Date: 201u
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193476 , vital:45335
- Description: Composition portfolio. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 201u
- Full Text:
- Date Issued: 201u
Composition portfolio
- Authors: Moss, Keith
- Date: 2007
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193724 , vital:45390
- Description: Whitacre's music is primarily diatonic with subtle modulations, where the new key is always preserved diatonicaliy as well. I refer to this style as expanded diatonicism. Examples in my work of expanded diatonicism within this portfolio are to be found in navem ad somnium, Wynken, Blynken and Nod, as well as Hymn for Brass. My applications of expanded diatonic practices within each of these works are discussed in a separate appendix within the body of this portfolio. That these works are vocal or have a vocal inspiration (Hymn for Brass) reveals the extent of my initial reaction to Whitacre's music during a choral rehearsal. Furthermore, in my vocal compositions especially I chose texts which frequently gravitate towards ideas related to water, the ocean and ships. Whilst water has a soothing and inspiring influence upon me, presumably evidenced in my expanded diatonicism, it also represents my journey and investigation into the sound work of Whitacre in particular. It may be noticed that many of my works in this portfolio have religious orientated themes. I am a Christian, and belong to a Berean 2 Congregational Church. Whilst I am not Catholic or Anglican, I nonetheless have made use of texts from the liturgy of these denominations, as they emphasise the basis of my Christian faith. Why I chose Hymn for Brass as a title could possibly be construed as a religious reference, however it was named after the piece was written, and had no theological connotations in its inception save for the hymnody style of the orchestration. Providence and The Eventide both have a Christian philosophical foundation which is explored in depth in the accompanying appendix. The latter work explores an extension of my expanded diatonic style through incorporating aspects of chromaticism. The rationale for this is dealt with in my discussion of this work. This portfolio represents an overview of my compositional activities to date and displays my growing confidence with the technical aspects of composition as well as my yearning for experimentation with new ideas and manners of expression. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2007
- Full Text:
- Date Issued: 2007
- Authors: Moss, Keith
- Date: 2007
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193724 , vital:45390
- Description: Whitacre's music is primarily diatonic with subtle modulations, where the new key is always preserved diatonicaliy as well. I refer to this style as expanded diatonicism. Examples in my work of expanded diatonicism within this portfolio are to be found in navem ad somnium, Wynken, Blynken and Nod, as well as Hymn for Brass. My applications of expanded diatonic practices within each of these works are discussed in a separate appendix within the body of this portfolio. That these works are vocal or have a vocal inspiration (Hymn for Brass) reveals the extent of my initial reaction to Whitacre's music during a choral rehearsal. Furthermore, in my vocal compositions especially I chose texts which frequently gravitate towards ideas related to water, the ocean and ships. Whilst water has a soothing and inspiring influence upon me, presumably evidenced in my expanded diatonicism, it also represents my journey and investigation into the sound work of Whitacre in particular. It may be noticed that many of my works in this portfolio have religious orientated themes. I am a Christian, and belong to a Berean 2 Congregational Church. Whilst I am not Catholic or Anglican, I nonetheless have made use of texts from the liturgy of these denominations, as they emphasise the basis of my Christian faith. Why I chose Hymn for Brass as a title could possibly be construed as a religious reference, however it was named after the piece was written, and had no theological connotations in its inception save for the hymnody style of the orchestration. Providence and The Eventide both have a Christian philosophical foundation which is explored in depth in the accompanying appendix. The latter work explores an extension of my expanded diatonic style through incorporating aspects of chromaticism. The rationale for this is dealt with in my discussion of this work. This portfolio represents an overview of my compositional activities to date and displays my growing confidence with the technical aspects of composition as well as my yearning for experimentation with new ideas and manners of expression. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2007
- Full Text:
- Date Issued: 2007
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