'n Interdissiplinêre benadering tot die klasmusiekonderwys in Suid-Afrika
- Authors: Hendrikse, Salóme
- Date: 1993
- Subjects: School music -- Instruction and study -- South Africa Music -- Instruction and study -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2640 , http://hdl.handle.net/10962/d1002305
- Description: In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
- Full Text:
- Date Issued: 1993
- Authors: Hendrikse, Salóme
- Date: 1993
- Subjects: School music -- Instruction and study -- South Africa Music -- Instruction and study -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2640 , http://hdl.handle.net/10962/d1002305
- Description: In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
- Full Text:
- Date Issued: 1993
A cultural analysis of Venda guitar songs
- Authors: Kruger, Jaco Hentie
- Date: 1994
- Subjects: Ethnomusicology Venda (African people) -- Music -- Social aspects Songs with guitar Music -- Social aspects Music -- Social aspects -- South Africa -- Venda Symbolism in music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2644 , http://hdl.handle.net/10962/d1002309
- Description: This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
- Full Text:
- Date Issued: 1994
- Authors: Kruger, Jaco Hentie
- Date: 1994
- Subjects: Ethnomusicology Venda (African people) -- Music -- Social aspects Songs with guitar Music -- Social aspects Music -- Social aspects -- South Africa -- Venda Symbolism in music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2644 , http://hdl.handle.net/10962/d1002309
- Description: This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
- Full Text:
- Date Issued: 1994
Contributions to the development of the piano sonata : the sonatas of Joseph Haydn, with special reference to their historic position and to the influence of German, Austrian and Italian elements on their form and style
- Authors: Heuschneider, Karin
- Date: 1970
- Subjects: Haydn, Joseph, 1732-1809 Music -- History and criticism -- 18th century Music, influence of -- Germany Music, influence of -- Austria Music, influence of -- Italy
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2684 , http://hdl.handle.net/10962/d1012264
- Description: This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.
- Full Text:
- Date Issued: 1970
- Authors: Heuschneider, Karin
- Date: 1970
- Subjects: Haydn, Joseph, 1732-1809 Music -- History and criticism -- 18th century Music, influence of -- Germany Music, influence of -- Austria Music, influence of -- Italy
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2684 , http://hdl.handle.net/10962/d1012264
- Description: This thesis, which is intended for inclusion in "The Piano Sonatas of the 18th century in Austria" (Vol.3 in the publication series "Contributions the the development of the Piano Sonata") aims to evaluate Haydn's position within the history of the piano sonata. In spite of the widespread popularity of Haydn's sonatas among professional musicians and amateurs, surprisingly little has yet been published regarding the compositional aspects of these works. The main contributions of musicological value were written by Hermann Abert, Karl Geiringer, Walter Georgii and William S.Newman. The recent studies, published as Vol.l and Vol.2 in the above mentioned series, made it possible to trace in much greater detail the various formative factors that influenced the form and style of Haydn's piano sonatas. Moreover, it proved the composer's personal merits not only in the development of this specific genre but also in the creation of 'The International Viennese Language of the High-Classical Period'. The newly gained insight, in turn, should lead to an even higher appreciation of the great master, who utilized the achievements of his predecessors and contemporaries in an original and individual manner and thereby gained a position far superior to that of many other composers.
- Full Text:
- Date Issued: 1970
Monochord to moog : a study of the development of stringed keyboard instruments with special reference to popularity trends
- Authors: Shuttleworth, Betty
- Date: 1972
- Subjects: Keyboard instruments -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2676 , http://hdl.handle.net/10962/d1007441
- Description: The object of the present work has been to trace the evolution of stringed keyboard instruments from the monochord to the present day piano forte. So many inventions have occurred that a chronology of these would be both tedious and of little added value to the existing literature. In the present work the emphasis has been on those innovations which achieved some measure of popularity and can be regarded as essential steps in arriving at the products and methods of modern piano manufacturers. In order to bring this work up to date, visits have been paid to John Broadwood & Sons and the British Piano Museum in London; to the Essex Institute and Pingree House in Salem, Massachusetts; the Smithsonian Institute (Division of Musical Instruments) in Washington; the various Yamaha Factories in Hamamatsu, Japan; and the Piano Manufacturing Company in Wellington, South Africa. Special attention has also been paid to the development and popularity trends of mechanical, pneumatic and electric pianos. In the last Chapter of this study, the information gained is applied to the identification and dating of stringed keyboard instruments found in South Africa or referred to in newspapers or Africana.
- Full Text:
- Date Issued: 1972
- Authors: Shuttleworth, Betty
- Date: 1972
- Subjects: Keyboard instruments -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2676 , http://hdl.handle.net/10962/d1007441
- Description: The object of the present work has been to trace the evolution of stringed keyboard instruments from the monochord to the present day piano forte. So many inventions have occurred that a chronology of these would be both tedious and of little added value to the existing literature. In the present work the emphasis has been on those innovations which achieved some measure of popularity and can be regarded as essential steps in arriving at the products and methods of modern piano manufacturers. In order to bring this work up to date, visits have been paid to John Broadwood & Sons and the British Piano Museum in London; to the Essex Institute and Pingree House in Salem, Massachusetts; the Smithsonian Institute (Division of Musical Instruments) in Washington; the various Yamaha Factories in Hamamatsu, Japan; and the Piano Manufacturing Company in Wellington, South Africa. Special attention has also been paid to the development and popularity trends of mechanical, pneumatic and electric pianos. In the last Chapter of this study, the information gained is applied to the identification and dating of stringed keyboard instruments found in South Africa or referred to in newspapers or Africana.
- Full Text:
- Date Issued: 1972
Music and (post)colonialism : the dialectics of choral culture on a South African frontier
- Authors: Olwage, Grant
- Date: 2004
- Subjects: Choral music -- South Africa -- History Black people -- South Africa -- Music -- History and criticism Bokwe, John Knox, 1855-1922
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2679 , http://hdl.handle.net/10962/d1007717
- Description: This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".
- Full Text:
- Date Issued: 2004
- Authors: Olwage, Grant
- Date: 2004
- Subjects: Choral music -- South Africa -- History Black people -- South Africa -- Music -- History and criticism Bokwe, John Knox, 1855-1922
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2679 , http://hdl.handle.net/10962/d1007717
- Description: This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".
- Full Text:
- Date Issued: 2004
Peter Warlock: a study of the composer through the letters to Colin Taylor between 1911 and 1929
- Authors: Smith, Barry, 1939-
- Date: 1991
- Subjects: Warlock, Peter, 1894-1930 -- Correspondence Taylor, Colin, 1881-1973 -- Correspondence Composers -- Great Britain -- Correspondence
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2657 , http://hdl.handle.net/10962/d1002323
- Description: This thesis involves a comprehensive study of the letters written by Philip Heseltine (Peter Warlock) to Colin Taylor from 1911 to 1929. Warlock first came into contact with Taylor at Eton in 1908 when he studied the piano with him as a schoolboy. Through Taylor's imaginative teaching during the next four years Warlock's interest in and understanding of music, particularly modern music, grew and matured. At the same time a strong bond of friendship developed between the two men and continued until Warlock's early death in 1930. This is clearly illustrated in the surviving 87 letters. Warlock was a great letter writer and over a thousand of them have been preserved, mostly in the British Library. His letters to Taylor have a special significance in that they were written during the entire period of his adult life, most of them during the early formative and creative years. They cover a wide range of topics including the influential friendships with the composers Frederick Delius and Bernard van Dieren, contemporary British and foreign music and his own work as a composer, writer, and scholar. They also give us many important insights into his life and personality, written as they are with rare candour and humour. In this thesis each letter has been carefully and systematically studied and the resulting information used to augment and expand the existing knowledge of Warlock's life and personality, his friendship with Taylor, his music and writings. Because of the wide field which the life and works of Peter Warlock cover, this study has been limited to subjects arising out of the correspondence with Taylor. Where necessary, additional information has been interpolated from other sources, mainly to give a sense of continuity and to explain references which might otherwise seem obscure. For a detailed study of Warlock's music readers are referred to Ian Copley's book, The Music of Peter Warlock, (Dennis Dobson, London, 1979). A definitive biography has yet to be written.
- Full Text:
- Date Issued: 1991
- Authors: Smith, Barry, 1939-
- Date: 1991
- Subjects: Warlock, Peter, 1894-1930 -- Correspondence Taylor, Colin, 1881-1973 -- Correspondence Composers -- Great Britain -- Correspondence
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2657 , http://hdl.handle.net/10962/d1002323
- Description: This thesis involves a comprehensive study of the letters written by Philip Heseltine (Peter Warlock) to Colin Taylor from 1911 to 1929. Warlock first came into contact with Taylor at Eton in 1908 when he studied the piano with him as a schoolboy. Through Taylor's imaginative teaching during the next four years Warlock's interest in and understanding of music, particularly modern music, grew and matured. At the same time a strong bond of friendship developed between the two men and continued until Warlock's early death in 1930. This is clearly illustrated in the surviving 87 letters. Warlock was a great letter writer and over a thousand of them have been preserved, mostly in the British Library. His letters to Taylor have a special significance in that they were written during the entire period of his adult life, most of them during the early formative and creative years. They cover a wide range of topics including the influential friendships with the composers Frederick Delius and Bernard van Dieren, contemporary British and foreign music and his own work as a composer, writer, and scholar. They also give us many important insights into his life and personality, written as they are with rare candour and humour. In this thesis each letter has been carefully and systematically studied and the resulting information used to augment and expand the existing knowledge of Warlock's life and personality, his friendship with Taylor, his music and writings. Because of the wide field which the life and works of Peter Warlock cover, this study has been limited to subjects arising out of the correspondence with Taylor. Where necessary, additional information has been interpolated from other sources, mainly to give a sense of continuity and to explain references which might otherwise seem obscure. For a detailed study of Warlock's music readers are referred to Ian Copley's book, The Music of Peter Warlock, (Dennis Dobson, London, 1979). A definitive biography has yet to be written.
- Full Text:
- Date Issued: 1991
Religion, tradition and custom in a Zulu male vocal idiom
- Ndlovu, Caesar Maxwell Jeffrey
- Authors: Ndlovu, Caesar Maxwell Jeffrey
- Date: 1996
- Subjects: Songs, Zulu Zulu (African people) -- Social life and customs Zionist churches (Africa) -- South Africa -- Transkei Church music -- South Africa African indigenous/independent churches
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2650 , http://hdl.handle.net/10962/d1002315
- Description: The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
- Full Text:
- Date Issued: 1996
- Authors: Ndlovu, Caesar Maxwell Jeffrey
- Date: 1996
- Subjects: Songs, Zulu Zulu (African people) -- Social life and customs Zionist churches (Africa) -- South Africa -- Transkei Church music -- South Africa African indigenous/independent churches
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2650 , http://hdl.handle.net/10962/d1002315
- Description: The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
- Full Text:
- Date Issued: 1996
The ballads of Carl Loewe : examined within their cultural, human and aesthetic context
- Authors: Mierowska, Jean Elaine Nora
- Date: 1989
- Subjects: Loewe, Carl, 1796-1869. Songs. Selections Loewe, Carl, 1796-1869. Songs
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2649 , http://hdl.handle.net/10962/d1002314
- Description: This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.
- Full Text:
- Date Issued: 1989
- Authors: Mierowska, Jean Elaine Nora
- Date: 1989
- Subjects: Loewe, Carl, 1796-1869. Songs. Selections Loewe, Carl, 1796-1869. Songs
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2649 , http://hdl.handle.net/10962/d1002314
- Description: This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.
- Full Text:
- Date Issued: 1989
The piano sonatas of Muzio Clementi: an investigation into compositional aspects with special emphasis on developments in form and style
- Authors: Radloff, T E K
- Date: 1987
- Subjects: Clementi, Muzio, 1752-1832 -- Sonatas, Piano
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2653 , http://hdl.handle.net/10962/d1002319
- Description: This thesis follows on a number of studies all of which deal with selected schools of composition important in the development of the piano sonata. Muzio Clementi was one of the leading contemporaries of such great masters as Haydn. Mozart, Beethoven and Schubert, all of whom contributed greatly to the repertoire of piano sonatas. During his lifetime his reputation equalled that of his contemporaries and many of his sonatas were greatly admired by the young Beethoven. Clementi was born in Rome but spent the largest part of his Ii in London where he established himself as a multi-faceted musician, being engaged in many different fields connected with music: composer, teacher, performer, publisher and manufacturer of pianos. His sonatas form the most important part of his total creative output. While the earli works still follow principles typical of the middle classical period, his later sonatas belong to a different era and foreshadow the coming of romanticism. This thesis is devoted to a detailed survey of the changes that affect the form of the various movements. It shows the gradual change from tile simple compositional methods of the early works to the inherent logical process that characterises the sonatas of the later years The first part of the thesis culminates in findings that prove Clementi IS individuality and show that his enquiring spirit makes him an innovator of the first rank. The second major part of the thesis deals with the stylistic changes that take place within the various periods of Clementiis creative life. It summarises the main ingredients of his early music, critically evaluates the importance of various pianistic devices that play a leading role in works of the middle periods and finally shows the successful blending of inherited and new techniques in the last sonatas. The concluding section details the major points of the preceding investigations and presents a picture of Clementi's personality as it emerges through the medium of his solo keyboard sonatas.
- Full Text:
- Date Issued: 1987
- Authors: Radloff, T E K
- Date: 1987
- Subjects: Clementi, Muzio, 1752-1832 -- Sonatas, Piano
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2653 , http://hdl.handle.net/10962/d1002319
- Description: This thesis follows on a number of studies all of which deal with selected schools of composition important in the development of the piano sonata. Muzio Clementi was one of the leading contemporaries of such great masters as Haydn. Mozart, Beethoven and Schubert, all of whom contributed greatly to the repertoire of piano sonatas. During his lifetime his reputation equalled that of his contemporaries and many of his sonatas were greatly admired by the young Beethoven. Clementi was born in Rome but spent the largest part of his Ii in London where he established himself as a multi-faceted musician, being engaged in many different fields connected with music: composer, teacher, performer, publisher and manufacturer of pianos. His sonatas form the most important part of his total creative output. While the earli works still follow principles typical of the middle classical period, his later sonatas belong to a different era and foreshadow the coming of romanticism. This thesis is devoted to a detailed survey of the changes that affect the form of the various movements. It shows the gradual change from tile simple compositional methods of the early works to the inherent logical process that characterises the sonatas of the later years The first part of the thesis culminates in findings that prove Clementi IS individuality and show that his enquiring spirit makes him an innovator of the first rank. The second major part of the thesis deals with the stylistic changes that take place within the various periods of Clementiis creative life. It summarises the main ingredients of his early music, critically evaluates the importance of various pianistic devices that play a leading role in works of the middle periods and finally shows the successful blending of inherited and new techniques in the last sonatas. The concluding section details the major points of the preceding investigations and presents a picture of Clementi's personality as it emerges through the medium of his solo keyboard sonatas.
- Full Text:
- Date Issued: 1987
The rise of the French organ symphony with special reference to the works of Alexandre Guilmant and Charles-Marie Widor
- Authors: Johnson, Bruce Richard
- Date: 1990
- Subjects: Guilmant, Alexandre, 1837-1911 Widor, Charles-Marie, 1844-1937 Organ music -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2643 , http://hdl.handle.net/10962/d1002308
- Description: This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.
- Full Text:
- Date Issued: 1990
- Authors: Johnson, Bruce Richard
- Date: 1990
- Subjects: Guilmant, Alexandre, 1837-1911 Widor, Charles-Marie, 1844-1937 Organ music -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2643 , http://hdl.handle.net/10962/d1002308
- Description: This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.
- Full Text:
- Date Issued: 1990
The vocal works of Olivier Messiaen
- Authors: Donkin, Deborah Jean
- Date: 1995
- Subjects: Messiaen, Olivier, 1908-1992 Vocal music -- Research
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2634 , http://hdl.handle.net/10962/d1002299
- Description: Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.
- Full Text:
- Date Issued: 1995
- Authors: Donkin, Deborah Jean
- Date: 1995
- Subjects: Messiaen, Olivier, 1908-1992 Vocal music -- Research
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2634 , http://hdl.handle.net/10962/d1002299
- Description: Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.
- Full Text:
- Date Issued: 1995
Transnational habitus : Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
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