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
Performing the township: pantsula for life
- Van Niekerk, Heather Elizabeth
- Authors: Van Niekerk, Heather Elizabeth
- Date: 2018
- Subjects: Pantsula (Dance) South Africa Johannesburg , Pantsula (Dance) South Africa Makhanda , Dance Social aspects South Africa , Sophiatown (Johannesburg, South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/57874 , vital:26998
- Description: Pantsula dance is a performing art born from the townships of Johannesburg. It is a dance form performed across South Africa, in a variety of contexts; in theatres, music videos and competitions in community halls, on national and international stages and on television, and in the streets of townships, cities and suburbs across South Africa and abroad. Its performance is widespread, but it has its beginnings as a dance form born in areas created to marginalise and oppress. There is a scarcity of academic scholarship related to pantsula dance. This thesis aims to be a contribution to that pre-existing body of knowledge in the hope that there can be further engagement on this important, and increasingly mainstream, art form. I have focused my thesis on analysing pantsula dance as a performance of 'the township'. This has been attempted through an ethnographic engagement with pantsula dancers based in different township areas of Johannesburg and Graha mstown: various members of Impilo Mapantsula, Via Katlehong, Intellectuals Pantsula, Via Kasi Movers, Dlala Majimboz and the cast of Via Katlehong's Via Sophiatown. The research was conducted between 2013 and 2016 and serves to represent various moments within the ethnographic research process, while coming to understand various aspects of pantsula dance. An engagement with notions of 'the township', the clothing choices of the pantsula 'uniform', the core moves, inherent hybridity in the form itself, and the dedication to the dance form as a representation of the isipantsula 'way of life', are addressed throughout the thesis. As well as engaging with the memory and representation of Sophiatown as an important component to pantsula dance. Pantsula dance, an intrinsically South African dance form, provides a celebratory conception of 'the township' space and allows people from different backgrounds to engage in an important part of South Africa's past, present and future.
- Full Text:
- Date Issued: 2018
- Authors: Van Niekerk, Heather Elizabeth
- Date: 2018
- Subjects: Pantsula (Dance) South Africa Johannesburg , Pantsula (Dance) South Africa Makhanda , Dance Social aspects South Africa , Sophiatown (Johannesburg, South Africa)
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/57874 , vital:26998
- Description: Pantsula dance is a performing art born from the townships of Johannesburg. It is a dance form performed across South Africa, in a variety of contexts; in theatres, music videos and competitions in community halls, on national and international stages and on television, and in the streets of townships, cities and suburbs across South Africa and abroad. Its performance is widespread, but it has its beginnings as a dance form born in areas created to marginalise and oppress. There is a scarcity of academic scholarship related to pantsula dance. This thesis aims to be a contribution to that pre-existing body of knowledge in the hope that there can be further engagement on this important, and increasingly mainstream, art form. I have focused my thesis on analysing pantsula dance as a performance of 'the township'. This has been attempted through an ethnographic engagement with pantsula dancers based in different township areas of Johannesburg and Graha mstown: various members of Impilo Mapantsula, Via Katlehong, Intellectuals Pantsula, Via Kasi Movers, Dlala Majimboz and the cast of Via Katlehong's Via Sophiatown. The research was conducted between 2013 and 2016 and serves to represent various moments within the ethnographic research process, while coming to understand various aspects of pantsula dance. An engagement with notions of 'the township', the clothing choices of the pantsula 'uniform', the core moves, inherent hybridity in the form itself, and the dedication to the dance form as a representation of the isipantsula 'way of life', are addressed throughout the thesis. As well as engaging with the memory and representation of Sophiatown as an important component to pantsula dance. Pantsula dance, an intrinsically South African dance form, provides a celebratory conception of 'the township' space and allows people from different backgrounds to engage in an important part of South Africa's past, present and future.
- Full Text:
- Date Issued: 2018
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
Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
Singing madness: three performative analyses of the “mad scene” from Lucia di Lammermoor
- Authors: Le Kay, Jo-Nette
- Date: 2023-10-13
- Subjects: Uncatalogued
- 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: Uncatalogued
- 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 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 Effects of Monaural Beat Technology on Learners' Experiences of Music Performance Anxiety (MPA)
- Authors: Flanagan, Jayson Edward
- Date: 2021-10-29
- Subjects: Performance anxiety Alternative treatment , School music South Africa Makhanda , Music students South Africa Makhanda Examinations , Beats (Acoustics) Psychological aspects , Monaural Beat Technology
- Language: English
- Type: Masters theses , text
- Identifier: http://hdl.handle.net/10962/188419 , vital:44752
- Description: Music performance anxiety (MPA) is related to the experience of persisting, distressful, apprehensions about and/or actual impairment of performance skills in a public context, to a degree unwarranted given the individual’s musical aptitude, training and level of preparation (Salmon 1990). This research project set out to investigate learners’ subjective experiences of the effects of monaural beat (MB) vibrational frequencies on their experiences of MPA. The research project was a qualitative study based on a phenomenological research paradigm, which fundamentally aims to explore an experience in its own terms (Smith et al. 2009). The research participants consisted of four subject music pupils at St Andrew’s College and The Diocesan School for Girls and were interviewed through in-depth, semi-structured interviews over two practical examinations. The results suggested that various factors contribute to the experience of music performance anxiety, such as the performers’ perceptions of audience reactions, as well as the context of the performance. Self-esteem and the performer’s fragile sense of self-worth and self-confidence also play an important role in influencing their music performance anxiety. However, listening to monaural beats during a performance has the ability to lower levels of music performance anxiety by eliciting the following effects: an improved sense of confidence within the listeners; a sense of calm; the monaural beats working on a passive awareness level that allows the beat to operate at a sub-conscious level; the ability to focus better on the task at hand as well as benefit the listener in non-musical contexts such as studying; general concentration or ordinary tasks such as gardening or going for a run. The research suggests that listening to monaural beats during a musical performance can benefit the performer by lowering levels of MPA. As a result, the performer will experience an improved sense of confidence, calmness and the ability to focus better on the task at hand. Monaural beats have also shown to be a useful method of dealing with MPA instead of resorting to pharmaceutical drugs or other methods of coping such as playing games for distraction. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Flanagan, Jayson Edward
- Date: 2021-10-29
- Subjects: Performance anxiety Alternative treatment , School music South Africa Makhanda , Music students South Africa Makhanda Examinations , Beats (Acoustics) Psychological aspects , Monaural Beat Technology
- Language: English
- Type: Masters theses , text
- Identifier: http://hdl.handle.net/10962/188419 , vital:44752
- Description: Music performance anxiety (MPA) is related to the experience of persisting, distressful, apprehensions about and/or actual impairment of performance skills in a public context, to a degree unwarranted given the individual’s musical aptitude, training and level of preparation (Salmon 1990). This research project set out to investigate learners’ subjective experiences of the effects of monaural beat (MB) vibrational frequencies on their experiences of MPA. The research project was a qualitative study based on a phenomenological research paradigm, which fundamentally aims to explore an experience in its own terms (Smith et al. 2009). The research participants consisted of four subject music pupils at St Andrew’s College and The Diocesan School for Girls and were interviewed through in-depth, semi-structured interviews over two practical examinations. The results suggested that various factors contribute to the experience of music performance anxiety, such as the performers’ perceptions of audience reactions, as well as the context of the performance. Self-esteem and the performer’s fragile sense of self-worth and self-confidence also play an important role in influencing their music performance anxiety. However, listening to monaural beats during a performance has the ability to lower levels of music performance anxiety by eliciting the following effects: an improved sense of confidence within the listeners; a sense of calm; the monaural beats working on a passive awareness level that allows the beat to operate at a sub-conscious level; the ability to focus better on the task at hand as well as benefit the listener in non-musical contexts such as studying; general concentration or ordinary tasks such as gardening or going for a run. The research suggests that listening to monaural beats during a musical performance can benefit the performer by lowering levels of MPA. As a result, the performer will experience an improved sense of confidence, calmness and the ability to focus better on the task at hand. Monaural beats have also shown to be a useful method of dealing with MPA instead of resorting to pharmaceutical drugs or other methods of coping such as playing games for distraction. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
The growth, development and impact of the Grahamstown Festival of the Arts with special reference to music
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
- Full Text:
- Date Issued: 1998
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
- Full Text:
- Date Issued: 1998
The jazz divas an analysis of the musical careers of six New Brighton vocalists
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
The life and work of Benjamin Tyamzashe: a contemporary Xhosa composer
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Tyamzashe, Benjamin, 1890 -- Criticism and interpretation Xhosa (African people) -- Music Hymns, Xhosa Composers, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2639 , http://hdl.handle.net/10962/d1002304
- Description: In this study I have tried to show what Tyamzashe has achieved without the solid musical training any composer worthy of the name should undergo. I have also tried to show the forming of his own musical style under the impact of outside influences. This study is therefore not to teach one anything new, but simply to communicate the results of three years research. In it I have attempted to set the scene in which Tyamzashe's life unfolded itself under the influences of people and circumstances. In doing so I have tried to bear in mind the main theme - Tyamzashe himself. My problem was not so much what to include but what to leave out; thus I have not provided the scene with a detailed background. The section on missionary contact is necessary for an understanding of the great changes brought about by culture contact, as well as for putting Tyamzashe into his historical background. I have also stressed Lovedale because musical change as exemplified in the music of early Bantu converts was centralized there. Finally, the thesis of this study is: despite the changes introduced into Bantu music by culture contact, one perceives, in the works of Tyamzashe, the beginnings of a new pattern of integration. p. 2-3.
- Full Text:
- Date Issued: 1968
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Tyamzashe, Benjamin, 1890 -- Criticism and interpretation Xhosa (African people) -- Music Hymns, Xhosa Composers, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2639 , http://hdl.handle.net/10962/d1002304
- Description: In this study I have tried to show what Tyamzashe has achieved without the solid musical training any composer worthy of the name should undergo. I have also tried to show the forming of his own musical style under the impact of outside influences. This study is therefore not to teach one anything new, but simply to communicate the results of three years research. In it I have attempted to set the scene in which Tyamzashe's life unfolded itself under the influences of people and circumstances. In doing so I have tried to bear in mind the main theme - Tyamzashe himself. My problem was not so much what to include but what to leave out; thus I have not provided the scene with a detailed background. The section on missionary contact is necessary for an understanding of the great changes brought about by culture contact, as well as for putting Tyamzashe into his historical background. I have also stressed Lovedale because musical change as exemplified in the music of early Bantu converts was centralized there. Finally, the thesis of this study is: despite the changes introduced into Bantu music by culture contact, one perceives, in the works of Tyamzashe, the beginnings of a new pattern of integration. p. 2-3.
- Full Text:
- Date Issued: 1968
The ninety piano preludes of Alexander Scriabin : an analysis
- Sumter-Loosen, Leonore Olga Elisabeth
- Authors: Sumter-Loosen, Leonore Olga Elisabeth
- Date: 1978
- Subjects: Scriabin, Aleksandr Nikolayevich, 1872-1915 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2672 , http://hdl.handle.net/10962/d1007323
- Description: From thesis: Except perhaps for Debussy, Scriabin appears to be the most outstanding and productive composer amongst all his contemporaries in the field of the prelude. He wrote ninety preludes for the piano.
- Full Text:
- Date Issued: 1978
- Authors: Sumter-Loosen, Leonore Olga Elisabeth
- Date: 1978
- Subjects: Scriabin, Aleksandr Nikolayevich, 1872-1915 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2672 , http://hdl.handle.net/10962/d1007323
- Description: From thesis: Except perhaps for Debussy, Scriabin appears to be the most outstanding and productive composer amongst all his contemporaries in the field of the prelude. He wrote ninety preludes for the piano.
- Full Text:
- Date Issued: 1978
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 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
The requiems of Brahms and Verdi
- Authors: Pennels, Geraldine Murtel
- Date: 1994
- Subjects: Brahms, Johannes, 1833-1897 -- Requiems Verdi, Giuseppe, 1813-1901 -- Requiems Requiems -- History and criticism Requiems
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2651 , http://hdl.handle.net/10962/d1002317
- Description: The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.
- Full Text:
- Date Issued: 1994
- Authors: Pennels, Geraldine Murtel
- Date: 1994
- Subjects: Brahms, Johannes, 1833-1897 -- Requiems Verdi, Giuseppe, 1813-1901 -- Requiems Requiems -- History and criticism Requiems
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2651 , http://hdl.handle.net/10962/d1002317
- Description: The aim of this thesis is to compare the Requiems of Brahms and Verdi, two composers who are both amongst the greatest in our Western musical history, but completely different in significant aspects, the one being by nature introspective, serious, and even inclined towards melancholy in his creative work, whether done in a religious context or not; and the other being first and foremost a composer of operas, thus specializing in music for the stage or theatre, presupposing extroversion and even a degree of flamboyancy. Brahms never wrote any operas but his oeuvre is enhanced by symphonies, sonatas and concertos of serious intent, and especially by a body of wonderful chamber music (which is perhaps the most intimate genre in Western instrumental music). Verdi, on the other hand, is known almost exclusively for his operas, and wrote little else. Then Brahms was one of the great composers of the German Lieder, again a markedly intimate genre, which suggests that he paid constant attention to fine detail. In contrast, Verdi's mentality was that of the Italian opera composer who is more concerned with flowing melodic beauty, which is a "translation into music" of the meanings and tendencies of the text.
- Full Text:
- Date Issued: 1994
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 role of the cadence as determining factor of phrasing of the organ toccatas, preludes and fantasias of Johann Sebastian Bach
- Authors: Du Plooy, Jacobus Stephanus
- Date: 1996
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2636 , http://hdl.handle.net/10962/d1002301
- Description: This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.
- Full Text:
- Date Issued: 1996
- Authors: Du Plooy, Jacobus Stephanus
- Date: 1996
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2636 , http://hdl.handle.net/10962/d1002301
- Description: This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.
- Full Text:
- Date Issued: 1996
The solo piano music of Einojuhani Rautavaara
- Authors: Matambo, Lotta Eleonoora
- Date: 2012
- Subjects: Rautavaara, Einojuhani, 1928 -- Piano music -- Criticism and interpretation Piano music -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2646 , http://hdl.handle.net/10962/d1002311
- Description: Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
- Full Text:
- Date Issued: 2012
- Authors: Matambo, Lotta Eleonoora
- Date: 2012
- Subjects: Rautavaara, Einojuhani, 1928 -- Piano music -- Criticism and interpretation Piano music -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2646 , http://hdl.handle.net/10962/d1002311
- Description: Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
- Full Text:
- Date Issued: 2012
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