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Dissertations / Theses on the topic 'Gospel music – South Africa – History and criticism'
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1
Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.
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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
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Olwage, Grant. "Music and (post)colonialism : the dialectics of choral culture on a South African frontier." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007717.
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This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".
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Roos, Hilde. "Hendrik Hofmeyr : lewe en werk, 1957-1999." Thesis, Stellenbosch : University of Stellenbosch, 2000. http://hdl.handle.net/10019.1/51787.
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Thesis (MMus) -- University of Stellenbosch, 2000.ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information.
AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig word. In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek kenmerk. Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte redelik beperk. In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50 werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting, ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.
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McConnachie, Boudina. "Legal access to our musical history: an investigation into the copyright implications of archived musical recordings held at the International Library of African Music (ILAM) in South Africa." Thesis, Rhodes University, 2009. http://hdl.handle.net/10962/d1002313.
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This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.
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Nel, Johanna Adriana Maria. "Die musiek van die Apostoliese Geloofsending van Suid-Afrika (1908-1998)." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/53383.
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Thesis (MMus) -- University of Stellenbosch, 2003.ENGLISH ABSTRACT: The AFM came into being as a result of the Pentecostal Movement, which in turn owes its existence to the worldwide revivals at the beginning of the twentieth century. The president of the AFM, Dr. Isak Burger, writes in his book concerning the history of the church: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, that the First Evangelical Awakening (18th century), the Second Evangelical Awakening (19th century), as well as the worldwide revivals at the beginning of the twentieth century, had a causal effect on one another. It goes without saying that the musical practices of these Awakenings would also, indirectly, influence that of the AFM. This study serves a twofold purpose. It is just as important to examine the origin and development of the AFM, as it is to examine internal and external factors that have influenced its musical practices. The music that has been used during different periods also receives due attention. In order to view the AFM in the correct perspective, Chapter 1 deals with the factors leading up to the origin of the Pentecostal Movement. However, the historical development within the AFM also receives attention, with special reference to those events which influenced the practice of church music directly or indirectly. Chapter 2 includes a history of Church Music since the Reformation, since the Reformers strove to get the congregation involved into the service of worship. Music practised during the First and Second Evangelical Revivals, as well as the subsequent revivals at the beginning of the twentieth century, also receives mention. The musical practice within the AFM forms the main theme of Chapter 3. Subdivisions of this chapter reflect historical events within the AFM, the influence of the Charismatic Revival Movement, the role and function of music during church services, the rendition of music items, as well as the leading figures who contributed to this practice. Chapter 4 provides a chronological summary of songbooks used by the AFM since 1908 until 1998, while Chapter 5 presents analyses of the music mentioned in Chapters 2,3 and 4.
AFRIKAANSE OPSOMMING: Die AGS het vanuit die Pinksterbeweging ontstaan, terwyl dié op sy beurt uit die wêreldwye Ontwakings aan die begin van die twintigste eeu tot stand gekom het. Die President van die AGS, Dr. Isak Burger, kom in sy boek: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, tot die gevolgtrekking dat vorige Ontwakings van so ver terug as die Eerste Evangeliese Ontwaking (18de eeu), die Tweede Evangeliese Ontwaking (19de eeu), sowel as die wêreldwye Ontwakings aan die begin van die 20ste eeu, in kousale verband tot mekaar gestaan het. Dit spreek dus vanself dat ook die musiekbeoefening tydens hierdie Ontwakings indirek 'n invloed op dié van die AGS sou uitoefen. Hierdie studie is dus tweërlei van aard. Aan die een kant word die nodige aandag aan die ontstaan, sowel as die geskiedenis van die AGS gegee, terwyl die ontwikkeling van die musiekbeoefening soos beïnvloed deur interne en eksterne faktore, asook die musiek wat tydens verskillende tydperke gesing is, ook onder die loep geneem word. Om die AGS as kerkgenootskap binne die regte perspektief te plaas, begin Hoofstuk 1 met die vooraf- en ontstaansgeskiedenis van die Pinksterbeweging. Daar word egter ook kortliks aan die geskiedkundige verloop van gebeure binne die AGS aandag gegee, veral wanneer die beoefening van kerkmusiek direk of indirek daardeur geraak is. In Hoofstuk 2 word so ver as die Hervorming teruggegryp m.b.t. kerkmusiekgeskiedenis, aangesien die Hervormers so 'n belangrike bydrae gelewer het om die gemeente d.m.v. die kerklied weer by die erediensgebeure betrokke te kry. Daar word egter ook kortliks na musiek van die reeds genoemde Ontwakings in die 18de, 19de, asook aan die begin van die 20ste eeue verwys. Die AGS se musiekpraktyk vorm die hooftema van Hoofstuk 3. Onderafdelings van hierdie studie sluit o.a. in: bepalende geskiedkundige gebeure binne die AGS, die invloed van die Charismatiese Herlewingsbeweging, die rol van begeleiers en die begeleiding t.o.v. gemeentelike same sang tydens byeenkomste en die lewer van musiekitems, asook belangrike persone wat as leiers na vore getree en belangrike werk verrig het. Hoofstuk 4 bied 'n chronologiese opsomming van liedboeke wat vanaf 1908 tot en met 1998 deur die AGS gebruik is, en in Hoofstuk 5 word ontledings gemaak van musiek wat in Hoofstukke 2, 3 en 4 bespreek is. In Bylae 1 word aangedui watter musiek deel van die belangrikste liedbundels, nl. Hymns for Life and Service, Nuwe Sionsliedere, Evangelieliedere en Deo Gloria uitgemaak het, terwyl Bylaes 2 en 3 volledige bladmusiekvoorbeelde van ontledings van onderskeidelik vroeëre en hedendaagse musiek bevat.
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Botha, Yolanda. "Ontstaansgeskiedenis van Die Oranjeklub, met spesiale verwysing na die bevordering van die Suid-Afrikaanse toonkuns." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2096.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.Die Oranjeklub was the first Afrikaans culture organisation in Cape Town. Active since 1915, it strove to shape Afrikaner identity and advance Afrikaner art and culture. The main aim of the club was to inspire national sentiment, especially among young Afrikaners, and to help cultivate a love in this constituency for their language and history. This national sentiment was nourished by meetings of social and cultural significance. In this respect, Die Oranjeklub played an integral role in early twentieth-century Cape Town to oppose a perceived English political and cultural supremacy, acting as a buffer against the so-called ‘ver-Engelsing’ or Anglicization that was seen to threaten the identity of especially urban Afrikaners. Programmes during meetings usually comprised of a speech, supplemented by music and recital items that were generally contributed by Afrikaans club members. Meetings that deviated from this norm were mainly evenings where plays were performed or festivaloccasions of national importance in which the club was actively involved. The club’s management comprised two levels: an honorary committee and an executive committee. Many historically important figures served on the honorary-committee. The list includes names like D.F. Malan, J.B.M. Hertzog, C.J. Langenhoven and J.C. Smuts, amongst others. The executive committee had equally noteworthy chairmen, like the writer I.D. du Plessis and the critic C.H. Weich. The names of many important musicians can be found on club programmes, including Arnold van Wyk, Blanche Gerstman and Stefans Grové. Important actors and role players in theatre also participated in club events, amongst others Anna Neethling-Pohl, N.P. van Wyk Louw and Sarah Goldblatt. Speakers included personalities like D. Craven, C. Barnard and P.W. Botha. In 1976, after many decades trying to advance culture among white Afrikaners in Cape Town, the club was disbanded. This thesis documents, for the first time, the history of Die Oranjeklub. It also considers the meaning of the club’s cultural activities, especially its efforts to advance music among its members.
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Bain, Pauline. "Jah children the experience of Rastafari children in South Africa as members of a minority group with particular reference to communities in the former Cape Province." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1002650.
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This thesis is an ethnography of Rastafari childhood in the former Cape Province, South Africa, through the eyes of both parents and children. If children are a ‘muted group’, then what are the identity formation implications for “double-muted” groups, the children of ethnic minorities whose voices are not heard? Rasta parents’ experience of the struggle, ie. the opposition to apartheid, has shaped the Rastafari chant of ‘equal rights’ and ‘justice’ into a distinctly South African form of protest and resistance. Their childhood experiences have resulted in a desire to provide a better life for their children, using Rastafari as a vehicle. This is expressed in a continuation of the struggle that was started during apartheid, in the Rasta ideology children grow up learning. The Rasta child has become a contested body in this struggle. The South African Government, through policy, has a mandate to protect the child, and legislature exists to do so in accordance with international law. However, as child-raising differs phenomenally from culture to culture, these goals on the part of the State start infringing upon the rights and freedoms of minorities to raise their children according to their own cultural goals. This study examines the tension between Rastafari and government with regards to child raising, specifically looking at the following main points of contestation: public health, public schools and policy/legislation; in order to examine how Rasta children negotiate their identity in the face of these conflicting messages and struggles. Their identity can be influenced by three main groups, the Rasta family they grow up in; school; and multi-media. What these children choose to accept or reject in their worldview is moderated by their own agency. This study shows that this tension results in a new generation of Rastafari children, who are strongly grounded in an identity as Rastafari and take pride in this identity. It also illustrates how Rastafari are impacting on and changing government policy through resistance. Their successes in challenging the state on the grounds of multiculturalism and religious freedom, has helped in the attainment of a sense of dignity.
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Klopper, Annie Elizabeth. "Die opkoms van Afrikaanse rock en die literêre status van lirieke, met spesifieke verwysing na Fokofpolisiekar." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2201.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009.The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.
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Depoix, D. J. "Purity : blessing or burden?" Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/53024.
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Thesis (MPhil)--Stellenbosch University, 2002ENGLISH ABSTRACT: During the history of Israel the concept of "purity" had developed as a way in which God's people could honour his holiness and draw nearer to him, as a sanctified nation. By the time of Jesus, in Second Temple Judaism, the purity system had become restrictive. This had been influenced by political and social developments, including an increased desire to withdraw from Hellenistic and other factors which were seen as contaminating the integrity of Judaism. There were diverse perceptions regarding the achievement of the purity of Israel, including militaristic confrontation and expulsion of alien occupation forces, stricter adherence to the Law and, in some cases, total withdrawal from general society (such as at Qumran). It was, however, particularly the Pharisaic imposition of the supplementary oral tradition, supposed to clarify the written Law, which imposed hardship on those who, through illiteracy or inferior social status, were unable to meet all the minute provisions which would ensure ritual purity. The expansion of the Law of Moses by the commentary of the rabbis, which over time became the entrenched oral "tradition of the fathers", was originally intended to promote access to God by clarifying obscure points of the Law, in the pursuit of purity. However, this oral tradition had, in fact, become an instrument of alienation and separation of the ordinary people not only from the Pharisees, who considered themselves as the religious elite, but also from God. The common people, that is, a large section of the population, felt rejected and on the outside of both religious and social acceptance. On the material level they also suffered under a heavy tax burden, from both Temple and State, which aggravated their poverty. It was this situation which Jesus confronted in his mission to change the ideological climate and to reveal the Kingdom of God as being accessible to all who accepted the true Fatherhood of God, in penitence and humility. He denounced the hypocrisy which professed piety but which ignored the plight of those who were suffering. Hark 7 : 1-23 symbolizes the difference between the teaching and practice of Jesus and that of the Pharisees, and provides metaphorically a pattern of Christian engagement which is relevant in the South African situation today. The Christian challenge is to remove those barriers, both ideological and economic, which impede spiritual and material well-being within society. By active engagement, rather than by retreating to the purely ritualistic and individualistic practice of religion, the realization of the Kingdom of Heaven, as inaugurated by Jesus, will be advanced.
AFRIKAANSE OPSOMMING: Gedurende die geskiedenis van Israel het die konsep van reinheid ontwikkel as 'n wyse waarin die die volk van God Sy heiligheid kan eer en tot Hom kan nader, as 'n geheiligde volk. Teen die tyd van Jesus, tydens Tweede Tempel Judaïsme, het die reinheid sisteem beperkend geword. Dit is beïnvloed deur politieke en sosiale ontwikkelinge, insluitende 'n toenemende drang om te onttrek van Hellenistiese en ander faktore, wat beskou is as 'n besoedeling van die integriteit van Judaïsme. Daar was diverse persepsies aangaande die uitvoering van die reinheid van Israel, insluitende militaristiese konfrontasie en die uitwerping van vreemde besettingsmagte, strenger onderhouding van die Wet en in sekere gevalle, totale onttreking van die algemene samelewing (soos by Qumran). Tog was dit in besonder die Fariseërs se oplegging van bykomende mondelinge tradisie, veronderstelom die geskrewe Wet te verhelder, wat ontbering veroorsaak het vir die wat as gevolg van ongeletterdheid of minderwaardige sosiale status nie in staat was om aan elke haarfyn bepaling, wat rituele reinheid sou verseker, te voldoen nie. Die uitbreiding van die wet van Moses deur die kommentaar van die rabbies, wat met verloop van tyd die ingegrawe mondelinge "tradisie van die vaders" geword het, was oorsproklik bedoel om toegang tot God te verseker, deur die verheldering van onduidelike aspekte van die wet, in die nastreef van reinheid. Hierdie mondelinge tradisie het egter 'n instrument van vervreemding geword en skeiding gebring tussen gewone mense en die Fariseers, sowel as die wat hulleself beskou het as die religieuse elite. Dit het egter ook skeiding gebring tussen mense en God. Die gewone mense, dit is die meerderheid van die bevolking, het verwerp gevoel en aan die buitekring van beide religieuse en sosiale aanvaarding. Op materiële vlak het hulle ook gelyonder die juk van swaar belasting, van beide die Tempel en die Staat, wat hulle toestand van armoede vererger het. Dit was hierdie situasie wat Jesus gekonfronteer het in sy strewe om die ideologiese klimaat te verander en om die Koninkryk van God te openbaar as toeganklik vir almal wat die ware Vaderskap van God aanvaar, in berou en in nederigheid. Hy het die skynheiligheid verwerp wat aanspraak maak op vroomheid, maar die toestand van die lydendes ignoreer. Markus 7:1-23 simboliseer die verskil tussen die onderrig en die praktyk van Jesus en dié van die Fariseërs en voorsien metafories 'n patroon van Christelike verbintenis, wat relevant is binne die eietydse Suid-Afrikaanse konteks. Die uitdaging aan die Christendom is om die skeidslyne te verwyder, beide ideologies en ekonomies, wat geestelike en materieële welsyn binne die gemeenskap belemmer. Deur aktiewe betrokkenheid, eerder as om bloot te onttrek tot die suiwer ritualistiese en individualistiese beoefening van religie, sal die realisering van die Koninkryk van die Hemel soos ingehuldig deur Jesus, bevorder word.
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Malembe, Sipho S. "South African popular gospel music in the post-apartheid era : genre, production, mediation and consumption." Thesis, 2005. http://hdl.handle.net/10413/5102.
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This dissertation studies South African popular 'Gospel' music in the context of the new order of the post-apartheid era. The four main focal points of the study are genre, production, mediation and consumption. The end of apartheid was a historic and significant socio-political phenomenon in South Africa. Its implications were not only socio-political; they also affected many other aspects of the country, including arts and culture. Music was not exempt. The genre of local 'Gospel' is premised on the Christian faith, so that by producing and mediating 'Gospel' music, the music industry is at the same time producing and mediating the 'Gospel', or Christian culture. Consequently, by consuming 'Gospel' music the audience also consumes this 'Gospel' culture. Local 'Gospel' first emerged with foreign influences brought into South Africa by the missionaries, but gradually developed into the broad and complex genre that we know today. This is, in part, a result of 'other' influences, styles and elements having been incorporated into it. Many production companies are responsible for the production of local 'Gospel' music. These can be broadly categorized into two: major companies, and indies (which are small, private production companies). These two production routes have different implications for the artists and their music. Similarly, there are many different ways in which this music is mediated, or 'channelled', to its audience. These include television, radio, print media (newspapers, magazines, posters, fliers, etc.), internet, and live performances, all of which have their own specificities that determine their effectiveness in mediating local 'Gospel'. As is the case with any music, the audience for local 'Gospel' consumes its music in different ways and for different purposes. Though the artists/musicians assign certain meanings to their musical works, the audience does not always identify precisely with those musical meanings. Different people at different places and times, with different experiences and social conditions, encounter and interpret the music in different ways. South African popular 'Gospel' music is a broad and complex genre that has developed and grown over the years. The birth of democracy has had an indelible impact on it, and on its processes of production, mediation and consumption.Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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Papenfus, Anna Francina. "'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV." Diss., 1994. http://hdl.handle.net/10500/15739.
Full textAbstract:
This dissertation falls in line with work produced during
the past fifteen years or so, aimed at improving our appreciation
of late medieval/early Tudor English Drama. The approach is based
especially on looking at the rapport likely to be achieved
between audience and players (and via the players, with the
playwrights), in actual performance.
Attention is given to the permanent modes of human thought,
that are unaffected by the ephemeralities of a particular period;
attention is therefore drawn to the traps that may mislead the
unwary twentieth-century critic, and some new insights are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audienceThe reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard
Art History, Visual Arts & Musicology
M.A. (Musicology)
12
Ramsay, Mary Robinson. "A survey of school music in South Africa." Thesis, 1987. http://hdl.handle.net/10413/8925.
Full textAbstract:
Music in the curricula, music in the schools, supportive materials,
and facilities were examined in six out of seven South African educational
jurisdictions during the late 1970's. Official views were compared with
what actually occurred. A profile of the teachers involved included their
training, responsibilities, and status within the educational system. The
detailed information was compared with trends appearing in the 1980's.Thesis (M.Mus.)-University of Natal, Durban, 1987.
13
Mahabeer, Swasthi. "The role of music in the Hindi Shiksha Sangh (South Africa)." Thesis, 1999. http://hdl.handle.net/10413/8910.
Full textAbstract:
The promotion of the Hindi language by the Hindi Shiksha Sangh (South Africa) has
dominated the cultural life of the majority of Hindi-speaking Hindus in South Africa
for over fifty years. This study concerns itself with the role of music in the
construction of a local Hindi identity in the Sangh. It examines the factors that
created and sustained the Hindi identity. Areas that come under focus in the research
include: the history of the Hindi-speaking Hindu and their language in South Africa;
the promotion of the Hindi language; the role assumed by the Hindi Shiksha Sangh .
(South Africa) ; the function and significance of music and the socio-historical
context of music that informs the cultural identity of the Hindi-speaking Hindu. The
theoretical basis for this research has been drawn from principles in musical
ethnography. The study locates the cultural identity of a linguistic group within the
premise of socially meaningful music.Thesis (M.Mus)-University of Natal, Durban, 1999.
14
Francis, Amrita. "The mangalam and its significance to Indian South Africans in Kwazulu Natal." Thesis, 1999. http://hdl.handle.net/10413/8875.
Full textAbstract:
Weddings have always been an indispensable and auspicious part of Hindu life both in South Africa and in India. This study is an examination
of one aspect of Hindu weddings, viz. the vocal and sometimes instrumental recital of songs of blessing and praise. These songs are known as mangalams and have evolved in South Africa in the last century due to various factors. Analysis of the mangalam enables us to understand how traditions and customs continue and change in accordance with changing circumstances. Much of the data presented in this thesis has been gleaned from oral sources and, as such, the methodology of oral history has been extremely influential in the shaping of this dissertation.Thesis (M.Mus)-University of Natal, Durban, 1999.
15
Smith, Ian Wesley Ruthven. "An Investigation of selected flute compositions by composers resident in South Africa." Thesis, 1986. http://hdl.handle.net/10413/8908.
Full textAbstract:
This research briefly analyses and evaluates selected compositions for
flute solo and flute and keyboard in terms of compositional techniques ,
formal, structure, technical difficulties and problems of performance .
The works selected for discussion in this thesis are those of South
African-born composers and composers of other nationalities who are resident
in South Africa.
Six compositions for solo flute and sixteen compositions for flute and
keyboard by the following composers have been discussed:
Robert Clough
Stefans Grove
David Hoenigsberg
Christopher James
Dirk de Klerk
David Kosviner
Bernard Langley
Petrus Lemmer
Jacques de Vos Malan
Norbert Nowotny
Hubert du Plessis
Walter Swanson
Arthur Wegelin
Jeanne Zaidel-Rudolph
Paul Loeb van Zuilenberg
The aim of the research is primarily to discover and promote little known
flute compositions by composers resident in South Africa. These works
have been graded as to their suitability for either the concert platform
or for educational purposes.Thesis (M.Mus.)-University of Natal, Durban, 1986.
16
Jackson, Melveen Beth. "Indian South African popular music, the broadcast media, and the record industry, 1920-1983." Thesis, 1999. http://hdl.handle.net/10413/8883.
Full textAbstract:
This thesis is an historiographical and sociological study of Indian South African
broadcasting and the music industry between 1924 and 1983. A multilevel approach
which integrates empirical and cultural materialist critical theoretical methodologies
reveals the relationships between the media, industry, economy, politics, and culture.
Until the sixties, Indian South Africans were denied the civic rights that were taken for
granted by white South Africans. Broadcasting, for them, was to be a concession. On
being declared South Africans, broadcast programmes were expanded and designed to
pacify and Indianise Indian South Africans, preparing them for their role as a
middle-class racially defined group, a homelands group without a homeland. South
Africanised popular music, and Indian South African Western semi-classical, popular
music, or jazz performance was rejected by the SABC. Ambiguous nationalisms
shaped Indian South African aesthetics.
Global monopoly controlled the music industry. Similarly, disruptions in the global
market enabled local musicians and small business groups to challenge the majors. In
the late forties and fifties, this resulted in a number of locally manufactured records
featuring local and visiting musicians, and special distribution rights under royalty to an
independent South Asian company. The local South African records were largely
characterised by their syncretic nature, and generated a South African modernism
which had the capacity both to draw and repel audiences and officials alike.
A glossary of non-English terms and a discography of Indian South African music have
been included.Thesis (Ph.D.)-University of Natal, Durban, 1999.
17
Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
Full textAbstract:
Text in EnglishThis case study of the Caravan Traditional Dance group profiles Musisinyani Mackson Mavunda‘s contribution to Tsonga music and dance performing arts. The lack of documentation of the work of Tsonga local traditional composers and choreographers is well-known in South Africa. This is echoed by Kidula (2006: 109), stating that ‗many studies from the continent have few outlets in the global academy, inasmuch as the work done by foreign researchers is barely known in much of Africa‘. A few years in the future, it will not be known who the composer of a certain song was, and what their intentions were in composing that particular song. Naturally the composers want to send a message to the community and sometimes to entertain the community or compose for a certain ritual. Composers need a considerable amount of planning and carefully chosen words, choreography and so on and this becomes apparent when taking into account the time and effort they put into composing a song. In response to this problem and by placing the composers‘ narratives at the centre, the study examines the role of the founder of the Caravan Traditional Dance group (CTD), Musisinyani Mackson Mavunda, and his contribution to Tsonga music and dance performing arts. This requires a critical examination of all aspects of his CTD professional career: his musical beginnings, teaching career, teaching of Tsonga traditional dances and his social and cultural heritage in the society. The key finding of this study was that Musisinyani distinguishes the humanity of others, which is Ubuntu philosophy. Music is power. It has power from within the composer. This is seen through the composer‘s confidence, assertiveness and motivation when composing songs. Music has the power to do; this is the listeners‘ choice. Through the power of music, people can gain skills; they may be productive and can network and be innovative. Music also has power over people, and the power to influence communities, thereby helping unite community members to work towards a common cause to achieve a common goal. It therefore gives communities strength and cohesion. As the community they have the power to challenge the status quo and to encourage one another.
Art History, Visual Arts and Musicology
M.Mus.
18
Veeran, Naresh Denny. "The orchestral tradition amongst Indian South Africans in Durban between 1935 and 1970." Thesis, 1996. http://hdl.handle.net/10413/8938.
Full textAbstract:
During the mid-thirties, a tradition of music-making began amongst South Africans of Indian origin that dominated the cultural life of the majority of Indian South Africans for about forty years. This study concerns itself with the ways in which this
tradition - the Indian orchestral tradition as it is referred to by its participants was practised amongst Indian South Africans in Durban. The study examines the factors that created and sustained the tradition. Areas that come under focus during the
course of the presentation include: the contributions made by individual personalities and institutions to the development of Indian popular music generally, and to orchestras. specifically; the various locations in and around Durban where this
type of music-making was most prevalent; and the manner in which environmental factors affected the development of orchestras. The theoretical basis for this research has been drawn from principles in oral history and ethnomusicology. The study locates the orchestral tradition within Eric Hobsbawm's understanding of traditions and of the ways in which they are created and perpetuated. Further, since the presentation involves the extensive use of oral evidence, photographs, posters and related memorabilia, Paul Thompson' s methods of collecting and interpreting such data are used.Thesis (M.Mus.)-University of Natal, Durban, 1996.
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Allen, Lara Victoria. "Pennywhistle kwela : a musical, historical and socio-political analysis." Thesis, 1993. http://hdl.handle.net/10413/9106.
Full textAbstract:
This thesis is an exploration of the history of the pennywhistle in black South African
popular music, the most important style to evolve around this instrument being kwela
music. An analysis of kwela is conducted from several perspectives: historical,
musical, socio-cultural and political.
Chapter I explores the urban South African musical styles which preceded and
influenced kwela. The first of these genres was marabi, which developed in
Johannesburg's slumyards in the first three decades of the this century. Marabi was
followed by tsaba-tsaba in the late thirties, which in tum gave way to the swing influenced
genre of "African Jazz" in the forties.
Chapter II chronologically traces the use of the pennywhistle in urban black South
African popular music. An examination of kwela is preceded by a discussion of the
pennywhistle-and-drum "Scottish" marching bands of the thirties and forties, and the
rhythm-and-blues pennywhistle style of the early fifties. Various venues and their
effect on the performance of kwela are explored, as are the effects of international
recognition on the style's development.
Chapter III comprises an in-depth musical analysis of kwela's stylistic components.
The structure of kwela music and its harmonic, melodic and rhythmic components are
examined. A discussion of kwela's instrumentation includes an examination of the
roles of the guitar, banjo, string bass, drum-set, pennywhistle and saxophone.
Chapter IV is an exploration of the social context and cultural milieu which spawned
and nurtured the development of kwela music. Chapter V examines the relationship
between kwela and South African politics in the fifties. An overview of this political
environment is followed by an examination of the effects of particular apartheid
legislation on the development of music in general and kwela in particular.
Chapter VI concludes with an exploration of the ways in which various interest groups
were able to find meaning and identity in kwela music. Included here, for instance,
are the ways in which kwela contributed to the formation of urban black identity, and
how the style came to have meaning for various white interest groups. Finally, the
meaning of kwela today is considered.Thesis (M.Mus)-University of Natal, Durban, 1993.
20
Gaerdes, Johanna Marié Athena. "Klavierwerke deur Suid-Afrikaanse komponiste, voorgeskryf vir Unisa-musiekeksamens tot 1990 :." Diss., 1996. http://hdl.handle.net/10500/16825.
Full textAbstract:
Text in AfrikaansDie doel van hierdie verhandeling is om die opvoedkundige en artistieke waarde van klavierwerke, wat vir die Universiteit van Suid-Afrika (hiema UNISA) se musiekeksamens voorgeskryf is, uit te lig. Die eerste hoofstuk gee 'n beknopte oors1g van die geskiedenis van UNISAmusiekeksamens. In die tweede hoofstuk word geselekteerde werke ontleed en geevalueer. Daarna volg drie bylaes wat die volgende inligting bevat: Bylae 1 'n V olledige lys van alle werke wat tot 1990 gekomponeer is vlf UNISA se klaviereksamens, volgens komponiste gerangskik. W erke word alfabeties ingedeel volgens die komponis en datums word voorsien van wanneer die werk gekomponeer en voorgeskryf is. Werke wat nie in hierdie verhandeling ontleed is nie, word met 'n asterisk aangedui. Bylae 2 'n Volledige lys van alle werke wat tot 1990 gekomponeer is Vlf UNISA se klaviereksamens, volgens grade ingedeel. Komponiste word graadsgewys alfabeties gerangskik. Bylae 3 Kort biografiese sketse van die komponiste gedek in hierdie verhandeling ter inligting van leerlinge en onderwysers. Komponiste word alfabeties gerangskik. In hierdie verhandeling is slegs navorsing gedoen met betrekking tot die klavierwerke. W erke van ander instrumente is nie nagevors nie. Veertig komponiste se werke word gedek. Meer as eenhonderd en dertig stukke is versamel. Die ontleding van al hierdie werke sou te veel wees vir die omvang van hierdie verhandeling en is daar dus geselekteer. Seleksie het plaasgevind op grond van: Eksamengraad Daar word op laer grade gekonsentreer (V oorgraad 1 tot graad 5) omrede dit juis gedurende hierdie aanvangsonderrig is waar die liefde en belangstelling vasgele word vir die aanleer van werke uit eie bodem. Twee vorige verhandelings oor Suid-Afrikaanse klavierwerke ontleed oorwegend werke van hoer grade. Die navorser verwys hier na verhandelings van Rosemary YA Maritz en CL Venter (volledige verwysing in bibliografie). Moeilikheidsgraad Stukke wat makliker hanteerbaar is vir die leerling, het voorkeur geniet. Geen werke van graad 8 en die Onderwyslisensiaat of Voordraerslisensiaat word ontleed nie. Enkele werke van grade 6 en 7 word egter ook ontleed. Die ontleding en evaluering van die werke word alfabeties, volgens komponiste, ingedeel. In die ontleding word daar gelet op aspekte wat van opvoedkundige en artistieke waarde vir die jong leerling sal wees. Dit word ook bedoel as aansporing vir die onderwyser om van die werke aan die leerling te leer. Al die werke (voorgraad 1 tot graad 7) is bekombaar van die Argief in die biblioteek van die Universiteit van Suid-Afrika. Sommige onderwysers mag nog van die ou eksamenbundels in hul privaat versameling he. Dit sou egter 'n groot aanwins wees indien al hierdie musiek beskikbaar sou wees in een bundel. Onderwysers sou dan meer gereeld van die werke in die jong leerling se repertorium kon insluit. Die navorser vertrou dat die benadering van hierdie verhandeling, wat konsentreer op interessante opvoedkundige aspekte, die leerkrag sal voorsien van voldoende motivering om van die ryke erfenis uit eie bodem gebruik te maak, sodat dit nooit verlore mag gaan nie.
Art History, Visual Arts and Musicology
M. Mus.
21
"Tracking the narrative : the poetics of identity in rap music and hip- hop culture in Cape Town." Thesis, 2000. http://hdl.handle.net/10413/291.
Full text
22
Krynauw, Elizabeth. "Suid-Afrikaanse kamermusiek : 'n historiese oorsig en evaluasie van geselekteerde werke." Thesis, 1994. http://hdl.handle.net/10500/17148.
Full textAbstract:
Text in AfrikaansDie ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek
An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix
Art History, Visual Arts & Musicology
D.Mus. (Musiekwetenskap)
23
Veeran, Naresh Denny. "Orchestral music was the music of the working class : Indian popular music, performance practices and identity among Indian South Africans in Durban, 1930-1970." Thesis, 1999. http://hdl.handle.net/10413/8932.
Full textAbstract:
During the mid-1930s, a tradition of music-making
which drew its repertoire almost exclusively from
the music of Indian films began among Indian South
African ensembles in and around the city of Durban.
This dissertation examines the ways in which the
re-created music of Indian films served as a popular
expressive medium for the majority of Indian South
Africans in and around the city of Durban between
1930 and 1970. Unlike ethnomusicological and popular
music studies that focus on musics which are generally
both composed and performed by the same group
of people, this study deals with a repertoire that
was by and large imported directly from another geo-
'graphic, political, and social context: India. The
study is based on the premise that the performance
of music can serve as a valuable historical text,
and it posits that the musical structures and performance
practices of the ensembles under study encode
vital information about shared socio-political
experiences and the Indian South African identities
that emerged during the period under discussion.Thesis (Ph.D.)-University of Natal, Durban, 1999.
24
"South African choral music (Amakwaya) : song, contest and the formation of identity." Thesis, 2002. http://hdl.handle.net/10413/3083.
Full textAbstract:
Amakwaya refers to the tradition and performance practice of choirs in South Africa that
emerged from the mission-schools in the nineteenth century and is manifest today in the annual
competitions held by various Teachers' Associations or company-sponsored events like the
National Choir Festival. This choral practice, combining Western music styles with African
tradition, bears the marks - both social and aesthetic - of colonial and missionary influences,
and is closely linked to the emerging black middle class, their process of negotiating
identity, and their later quest for a national culture. Many aspects of contemporary amakwaya
performance practice, it is argued, including the recent interest of many members of the
amakwaya community in opera, can be understood through an analysis of the social dimensions of
these choirs. Particular attention is given to the role played by competitions and the
sectionalised repertoire. The criticisms made in this regard flow from an understanding of the
social meaning and aesthetic thrust of the tradition, from the author's practical involvement
with the choirs, and from extensive discussions with choristers and conductors. The first part
of the thesis is concerned with identifying the role played by European values such as those of
education and progress, in the self-understanding of the emerging missioneducated black South
African elite in the second half of the nineteenth century. An initial tendency towards
uncritical imitation and attempts at assimilation ended in the experience of rejection by the
settler community and isolation. It was followed, in the last quarter of the nineteenth
century, by a complex negotiation between traditional and modern values. With political, social
and economic mobility restricted in white South Africa, the black middle class turned towards
artistic expression such as choral singing in order to define and express a distinctively
African concept of civilisation. In this process, amakwaya performance developed into a
powerful means whereby class identity and consciousness could be constructed and communicated.
The second part looks into the framework of amakwaya, and at the mission schools and colleges
they attended and the competitions they organise. As a result of the practice of hymn singing,
participation in a choir soon became an important part of the leisure time activities of the
early mission converts. This formative phase of amakwaya is illustrated in a case study of one
of the most influential schools in Natal, Adams College, near Amanzimtoti, where the first
black South African School of Music was established. In order to promote the values important
to the missionaries as well as their converts - discipline, progress, and success -
competitions were encouraged at the mission stations. These became models for the competitions
which today are the main feature of amakwaya practice. The voices of various members of the
community are used to present a critical evaluation of the positive and negative aspects of
present-day competitions. The last part of the thesis concentrates on amakwaya repertoire,
particularly as it is represented at important choral competitions such as the National Choir
Festival. This part also attempts to facilitate an understanding of the genesis, structure and
aesthetic of the sectionalised repertoire, which consists of neo-traditional songs, Western
compositions, and choral works composed by mission-educated musicians. Strict adherence to the
sectionalised repertoire is a unique feature of amakwaya performance practice to the present
day.Thesis (Ph.D.-Music)-University of Natal, 2002.
25
Robertson, Mary. "Claiming sounds, constructing selves : the racial and social imaginaries of South African popular music." Thesis, 2005. http://hdl.handle.net/10413/5112.
Full textAbstract:
This thesis explores some of the ways in which listening to South African popular music allows individuals to enter into imaginative engagements with others in South Africa, and in so doing, negotiate their place in the social landscape. Taking as its starting point the notion of the "musical imaginary" - the web of connotational meanings arising out of the interaction between music and society, rendering it a particularly suitable medium through which to imagine social actors - it focuses specifically on the role of music in constructions of 'race' and, to a lesser extent, of 'nation'. It examines some of the ways in which dominant discourses exert pressure on what is imagined, as well as highlighting the creativity of listeners who appropriate the musical imaginary for their own ends of identification. It attempts to depict the complexity of musical identification in postapartheid South Africa, in which individuals must negotiate multiple boundaries marking difference, including categories of 'race', ethnicity, gender and class. It also investigates perceptions of the role of music in generating new identities and modes of social interaction, and offers some speculations as to how an analysis of these perceptions may contribute to current theoretical models of change in multicultural societies.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2005.
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Hagen, Lise. "Kulturele identiteit : die "Alternatiewe Afrikaanse Beweging" van die tagtigerjare." Thesis, 2012. http://hdl.handle.net/10210/7602.
Full textAbstract:
M.A.During the latter part of the Eighties, a growing number of Afrikaans writers and musicians rebelled against the monolithic state of "Afrikaner-culture". The dissidents did not want to identify or be identified with the Apartheid government, and they tried alternative ways in which to live out their cultural heritage (Uys in Rathbone, 1989:25). This search for an "alternative" led to the coining of the term "Alternative Afrikaans Movement" (Altematiewe Afrikaanse Beweging) in the media. A part of the Afrikaner-culture had been appropriated by certain institutions that were seen as the "centre" (such as cultural, political and religious institutions). These institutions strove to create a monolithic culture of unity without taking into account that such "unity" may lead to stagnation of the cultural repertoire due to an abhorrence to change. Change is part of the dynamic processes of culture, and any change can be due to external and as internal factors. In the case of the Afrikaner-culture of the eighties external factors such as changes in the world politics, the fall of communism and economic sanctions, influenced the cultural centre. Internal change also played a pivotal role in the dramatic changes that Afrikaner culture underwent during the late eighties and the early nineties. The total control of the centre was rejected by entities such as the Alternative Afrikaans movement on the periphery of the culture. Theperi_phery challenged the centre with lyrics of Alternative Afrikaans Music as well as texts that were deemed "alternative" such as the novel Suidpunt-jazz by Andre Letoit. The centre _proposed an amalgamation of Afrikaner culture and Afrikaner power. The Alternative Afrikaans Movement can be likened to Degenaar's (1982:3) proposal of the morally-critical Afrikaner that wants to separate Afrikaner power and Afrikaner culture. In this study the basic premise is that culture cannot be seen as a static or isolated phenomenon. Vlasselaers (1997:14) describes the concept of culture as a poststructuralist discursive process between a multitude of networks. The complexity inherent to cultural construction has lead me to make use of systems theory in order to best accommodate the complexities. Many academics (such as Segers, Schmidt and Vlasselaers) have examined the phenomena of culture and cultural studies through literary studies "as it is inadequate to study literary texts in isolation from their contexts" (Schmidt, 1997:119). The systems theory operates as an instrument with which one may reconstruct a model of interacting items, i.e. a system. Themes voicing the rebellion of Alternative Afrikaans Movement can be discerned in the texts deemed "alternative". Thematic devices include the reappropriation of institutionalized cultural symbols such as the ox-wagon (ossewa), and the debunking of a canonized history. The Alternative Afrikaans Movement also took cognisance the socio-political milieu of the eighties into their texts in order to voice their dissatisfaction with the "official" silence maintained about the socio-political status quo. Ultimately, this investigation is a study of the workings of a "culture of difference" (Vlasselaers, 1996:17), honin_g an investigative instrument that can be applied to different cultural phenomena, including literature. This study sheds some light on the dynamics of Afrikaner-culture, and also on the invaluable role that diversity plays within a multicultural South African context.
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Zulu, Thulani. "South African popular music of the 1980's and the role of the Graceland Project: A case of International (USA- RSA ) collaboration and co-production." Thesis, 2018. http://hdl.handle.net/11602/1240.
Full textAbstract:
PhD (African Studies)Department of African Studies
In the 1980s South Africa was subjected to cultural embargo. However, at the height of the embargo, Paul Simon went against the political climate of the day and mounted a cross-cultural, multinational music project called Graceland. Although South African popular music can facilitate the prosperity of musicians, only few musicians have succeeded in fostering this aspect. Using popular music and pop culture Afrocentrism as frameworks, this study analyses the Graceland project in the context of the South African popular music of the 1980s. The empirical research approach leaning towards the qualitative method was used. Interviews and literature review were the main modes of data gathering. Owing to the sensitivity of the subject, ethical considerations were adhered to. The cultural embargo, as well as other political interventions aiming at pressurising the South African government to abandon its apartheid policies, were well-meaning, but at the same time, the cultural embargo had a negative impact in that the popular culture of the country went unrecognised by global players. It was envisaged that this study would help in understanding the motivations and intentions of the planners of the Graceland project, and how these were to benefit the South African music sector.
NRF
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Smit, Brendan. "Afrikaans alternative popular music, 1986-1990 : an analysis of the music of Bernoldus Niemand and Johannes Kerkorrel." Thesis, 1992. http://hdl.handle.net/10413/5020.
Full text
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Van, der Voort Geoffrey Hermanus. "Didakties-pedagogiese analise van enkele klasmusieksillabusse vir die sekondêre skool in Suid-Afrika (1986-1992)." Diss., 1994. http://hdl.handle.net/10500/16277.
Full textAbstract:
Text in AfrikaansBinne die bestek van ses jaar, het drie Klasmusieksillabusse vir die sekondere skool, te wete die van Kaapland (1986), Transvaal (1991) en Skotland (1992) verskyn. Elk van hulle toon 'n unieke karakter ten opsigte van doelstellings, leerinhoud, ensovoorts. Dit het die vraag laat ontstaan watter van die sillabusse binne die raamwerk van wetenskaplik geselekteerde kriteria ontwikkel is en of hulle gevolglik wel didakties-pedagogies verantwoordbaar is. Die drie Klasmusieksillabusse is teen 'n agtergrondstudie van Klasmusiek in didakties-pedagogiese asook leerpsigologiese verband geanaliseer aan die hand van die didaktiese vereistes waaraan 'n vakkurrikulum behoort te voldoen. Die aanbevelings wat gemaak is, wil verseker dat 'n sillabus tot stand kom wat aan die wetenskaplike vereistes van kurrikulering voldoen, waarvan die doelstell ings deur die onderwyser verwerklik kan word en wat die leerder tot optimale leer kan voer.
In the scope of six years, three Class Music syllabi appeared, namely that of the Cape Province (1986), Transvaal (1991) and Scotland (1992). Each of these syllabi have a unique character with regard to aims, learning content, etc. This gave rise to the question whether these syllabi were developed within the framework of scientific selected criteria and whether they can be didactic-pedagogically accounted for. These Class Music syllabi were analysed against a background study of Class Music in didactic-pedagogical and learning pshycological perspective as well as the didactical requirements with which a subject curriculum should comply. The recommendations were aimed to ensure a curriculum document which complies with the scientific requirements of curriculum theory, which is attainable for the teachers and which takes the expectations of the learners into account.
Art History, Visual Arts & Musicology
M. Ed. (Didactics)
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Dlamini, Sazi Stephen. "The South African Blue Notes : bebop, mbaqanga, apartheid and the exiling of a musical imagination." Thesis, 2010. http://hdl.handle.net/10413/480.
Full textAbstract:
During the middle decades of the twentieth century, the exiling from South Africa of jazz musicians, including The Blue Notes, brought the discourses of local jazz, its performance culture and repertoires, to international attention. This process points to jazz’s global reach and raises questions about its adoption by differently constituted cultural subjects. Arjun Appadurai’s arguments about global homogenisation and heterogenisation come into play here, and have special significance today, when the study of jazz performance and history is increasingly part of the music education of young South Africans. Questions about who ‘owns’ jazz and what constitutes its authenticity loom large, as do questions about its global entanglement. The careers of The Blue Notes emerge from a background of South African syncretic musical performance; as such, they belong within the protracted history of African cultural engagement with European and American mediations of modernity. Among other issues, my thesis examines the use of jazz-influenced repertoires in the narration of cultural identities in postcolonial South Africa, under apartheid, and in exile.Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2010.
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Ralfe, Sarah Isabel. "Local is lekker? : a study of the perceptions of contemporary South African popular music among Durban adolescents at five culturally diverse schools in the greater Durban area." Thesis, 2005. http://hdl.handle.net/10413/5115.
Full textAbstract:
Is local lekker? This study looks at the perceptions the youth in Durban hold towards
local music. Through a study of the Grade 11 learners at Bonela Secondary, Gelofte
Skool, Hillcrest High School, Thomas More College and Sastri College this research
looks at how much support is offered for local music. It considers how much local
music the respondents listen to, how much they purchase and how many local
concerts they attend.
This study also considers the mediathat the respondents are exposed to,in order to·
discover if any correlation occurs between the media that they are exposed to and
their perception of local music. The impact of globalization and cultural imperialism
on the consumption of local music are also considered. In addition, the study looks
at whether variables such as gender, school, "race" or the home language of the
respondents impact on their support for local music.
Both qualitative and quantitative data was collected. The respondents were required
to respond to a questionnaire which elicited responses concerning their perceptions
of local music, their support for local music and the media that they are exposed to.
From the questionnaires a group of respondents of differing views, genders and
home languages was selected to participate in a focus group interview.
Results show that the respondents support very little in the way of local music, with
regard to listening to local music, purchasing local music and supporting local
concerts. They are exposed to a great deal of foreign material and do not have much
exposure to local products.Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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Gollom, Ingrid. "The history of the Cape Town Orchestra : 1914-1997." Diss., 2000. http://hdl.handle.net/10500/16855.
Full textAbstract:
The Cape Town Orchestra has exerted a major influence on the development of
orchestral music and musical culture not only in Cape Town but throughout South Africa.
It was the first professional orchestra in South Africa and came into existence on 28
February 1914.
The Orchestra's history has been divided into two main periods. During the first period,
from 1914 to 1968, the Orchestra was known as the Cape Town Municipal Orchestra.
During the second period, from 1969 until its final performance in 1997, the Orchestra
was known as the Cape Town Symphony Orchestra.
The Orchestra received financial support from the Cape Town Municipality throughout
its existence. After receiving its final municipal grant in 1996 the Orchestra could not
survive without financial assistance, and merged with the Capab Orchestra to become
the Cape Town Philharmonic Orchestra. The Cape Town Philharmonic Orchestra gave.
its inaugural performance on 1 April 1997.Musicology
M.Mus.
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Zondi, Nompumelelo Bernadette. "Bahlabelelelani : why do they sing? : gender and power in contemporary women's songs." Thesis, 2008. http://hdl.handle.net/10413/656.
Full textAbstract:
Certain cultural practices present unspoken questions to women. While women may
not be free to state these concerns upfront I argue that they have always had some
means of expressing themselves in creative ways about issues that affect them. One
issue that is investigated in this dissertation is the question of why women sing. This
study, therefore, examines one of the channels, which are songs, that women and
rural women in particular employ to deal with their day to day living. To this end I
have selected cultural songs as one of the ways of demonstrating how women
negotiate their spaces in the culture. The study is based on a community of women
from Zwelibomvu near Pinetown, South Africa but goes beyond this as I believe that
women in general speak for the majority of other women especially with regard to
issues around gender and power inequalities. Songs have been selected as a genre and
as a special form of expression that women in particular find easier to use to raise
issues that affect them in their daily lives. The three hour DVD rendition that forms
part of this study captures a synoptic view of the amount of raw data found in this
study. Through the medium of song, and strengthened by the stories that they share,
Zwelibomvu rural women are able to get a sense of relief and consolation from the
burdens that they have and which they would like to share.
Presented as a two part field work process, the first process involves the collection of
songs in ceremonies and occasions and observing an d being part of the occasions and
ceremonies where the songs that are sung by women are performed. This process
culminates in the production of the three hour DVD rendition that forms part of this
study and which captures a synoptic view of the amount of r aw data found in this
dissertation. The second part mainly involves interviews of categories of respondents
in similar settings/districts observed where ceremonies were attended and attempts to
provide some insight into why women sing and the question of gender and power in
contemporary women’s songs. Finally, the last chapters involve an analysis of songs
with regard to themes that emanate from these songs as well as a review on their oral
composition.Thesis (Ph.D)-University of KwaZulu-Natal, Durban, 2008.
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Nell, Wendy Desre. "Afrikaanse liedtekste in konteks : die liedtekste van Bok van Blerk, Fokofpolisiekar, the Buckfever Underground en Karen Zoid." Diss., 2014. http://hdl.handle.net/10500/18832.
Full textAbstract:
Text in AfrikaansDie doel van hierdie studie is om op die liedtekste van die kunstenaars, Bok van Blerk, Fokofpolisiekar, The Buckfever Underground (en Toast Coetzer) en Karen Zoid te fokus en om te bepaal wat hulle funksie in die eietydse Afrikaanse kultuurlandskap is, en wat hulle rol in die definiëring van kulturele identiteit is. In hierdie studie sal daar ook klem gelê word op die sosiopolitieke faktore wat tot die opbloei van die Afrikaanse musiekbedryf gelei het. Deur die analise van dié kunstenaars se lirieke, sal ek vasstel of hulle wel betekenisvolle werk van literêre gehalte lewer. Ek het spesifiek hierdie musikante gekies omdat hulle jong eietydse musikante is.
The purpose of this study is to focus on the song texts of artists, Karen Zoid, Fokofpolisiekar, The Buckfever Underground (and Toast Coetzer) and Bok van Blerk and to determine their function in today’s cultural reality, and whether these musicians and their music have an influence on today’s youth and their search for a Cultural Identity. This study will also focus on the socio-political factors that led to the rise of the Afrikaans Music Industry. By analyzing these artists’ lyrics, I want to determine whether they are significant works of literary quality. These musicians were chosen because they are regarded as young contemporary musicians.
Afrikaans & Theory of Literature
M.A. (Afrikaans)
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"Jazz as discourse : a contextualised account of contemporary jazz in post-apartheid Durban and Johannesburg." Thesis, 2005. http://hdl.handle.net/10413/1013.
Full textAbstract:
This study offers an ethnographically contextualised close reading of the music played by three 'jazz' groups in eight concerts held in Durban and Johannesburg between June 1994 and December 2003. These performances were videotaped and then analysed with reference to 1) the compositional and improvisational techniques employed in the creation of the performances; 2) the stage behaviour of the musicians; 3) audience behaviour, and 4) the physical contexts in which the performances occurred. The performances constitute the primary texts on which this study is based. Secondary texts, in the form of discourse produced because of the concerts, are also examined. These take the form of open-ended interviews with thirteen participant musicians and twelve audience members. The primary and secondary texts are then compared with each other and situated within their broader musical and social contexts. This exploration of the ways in which social processes inhere in musical processes draws on a notion of expressive discourse as 1) a multifaceted practice in which textuality, subjectivity, place, history, and power function as interdependent parts of a complex social ecology and 2) a dialogically-constituted system of utterances. The study then argues that musical details articulate social meanings - and thus function as utterances - because of their dual existence within 1) systems of intra- and intertextual relationships and 2) processes of dialectical interaction between texts and socio-historical contexts.Thesis (Ph.D.)-University of KwaZulu-Natal, 2005.
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Khosa, Hanyani Aubrey. "A descriptive analysis of indigenous Xitsonga music dance compound: A musicological approach." Thesis, 2018. http://hdl.handle.net/11602/1127.
Full textAbstract:
PhD (African Studies)Centre for African Studies
It has been shown that indigenous music and dance can help one to vividly fathom the behaviour, values and morals of particular cultural groups, they perform their music and dance for various reasons. For instance, there are songs for hoeing, weeding, reaping, for children, of mockery, during game, protests, by the fireside interspersed with folktales, love songs and so on. All these songs are immersed in culture-bound indigenous music. The indigenous music and dance of the Vatsonga play a vital role, not only in their lives but also for others who enjoy indigenous Xitsonga music and dance. There exists, however gaps regarding documentation, preservation and notation of this music and dance practices. In this study, therefore, indigenous Xitsonga music and dance genres are analysed descriptively and documented (with notation of common songs) for posterity. A qualitative approach was used to conduct this musicological study. A study such as this one can also contribute towards African indigenous knowledge systems and be used by the Department of Education.
NRF
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Van, Helsdingen Lentelie. "Die rol van die vrou in die westerse musiekgeskiedenis van Suid-Afrika, 1652-1952." Diss., 1995. http://hdl.handle.net/10500/17725.
Full textAbstract:
Text in AfrikaansHierdie studie handel oor die rol wat vroue in die Westerse musiekgeskiedenis van SuidAfrika vanaf 1652 tot 1952 gespeel bet. Vroue se bydraes en die belangrikheid daarvan word dus op haas elke denkbare gebied van die musiekmilieu gedurende die ontstaan en ontwikkeling van elke belanghebbende Westerse gemeenskap ondersoek. Hoofstukke een tot vyf konsentreer op die rol wat vroue as professione1e en amateur musikante binne die volgende streke sou vervul: Wes-Kaap, Natal, Vrystaat, Transvaal en Oos-Kaap. Hul posisies as uitvoerende kunstenaars, opvoedkundiges, beskermvroue, orkeslede, dirigente, komponiste, asook as stigters en lede van musiekverenigings word bestudeer. Hoofstuk ses stel 'n algemene beeld van die identiteit en werksaamhede van vrouemusici in die Suid-Afrikaanse musiekgeskiedenis daar. Daar word gekyk na die belangrikheid van hul bydraes en gevolglik blyk duidelik dat hul betekenis nie na waarde geskat word nie. Ten slotte word gepoog om vas te stel wat ten grondslag van hierdie ,verskynsel le.
This study deals with women musicians in the history of Western music in South Africa from 1652 to 1952. Their contributions within the origin and development of every major Western society are traced. Chapters one to five highlight women's roles as professional and amateur musicians in the following regions: Western Cape, Natal, Free State, Transvaal and Eastern Cape. Their posistions as performing artists, educators, patrons, orchestral players, conductors, composers, as well as fo'unders and members of musical societies are discussed. Chapter six recreates a general image of the identity and activity of South African women musicians. It becomes evident that their contributions are entirely underestimated. Finally the study seeks to place this misconception into proper perspective.
Art History, Visual Arts & Musicology
M. Mus.
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Hlungwani, Hasani Richard. "Nxopaxopo wa vuyimbeleri bya matswa bemuda hi ku kongomisa eka nkongomelo, nkoka na a matirhiselo ya ririmi erixakeni ra Vhatsonga." Diss., 2016. http://hdl.handle.net/11602/404.
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Moses, Roland Hansel. "Pentecostal church music praxis : Indians in the Durban region, 1994-2011." Thesis, 2015. http://hdl.handle.net/10500/22677.
Full textAbstract:
The first indentured Indians arrived in South Africa in 1860. Their importation was a consequence of the British, who wanted cheap labour from their colony, India, to serve the Empire’s needs in South Africa. Several of these Indians, upon completion of their term of their indenture, chose South Africa as their new ‘motherland’. They settled in Durban and its surroundings with some migrating inland. Consequently, the largest community of Indians in South Africa is still located in the Durban area.
Indian communities globally show clear socio-economic development coupled with a strong association to religion and worship. The South African Indian diaspora is no different. Religion is deeply embedded in the fabric of this community. Rooted within most Indian religious practices are strong ties with music.
The immigrants who arrived in South Africa shared common religious associations with India, the major religions being Hinduism, Islam and Christianity. Christianity in South Africa includes established and mainline church denominations such as Roman Catholic, Anglican, Methodist, Baptist, Presbyterian, Lutheran and Pentecostal movement. The Pentecostal movement includes the Full Gospel Church of God, Assemblies of God and Apostolic Faith Missions. Music, a subsidiary to worship within the Pentecostal church movement, provides certain unique dimensions to the religious service as opposed to the traditional repertoire and instrumentation (hymns being sung with organ accompaniment) of the mainline churches. To date, little is known about the music education, performance practice and music praxis in these churches. The lack of data on the latter provides the basis for this current investigation into Church Music praxis within the Pentecostal movement.
A mixed method research approach which integrates both the qualitative as well as quantitative is adopted for this study. This approach allows for greater insight into the target population and their phenomena. The qualitative phase which consisted of informal structured interviews and a review of literature, provided in-depth knowledge and thematic data that informed the quantitative phase. The sample population used in the
quantitative phase draws on six of the largest churches in the predominantly Indian areas of Durban. A questionnaire was developed specifically for this study, submitted for review to an expert, and administered to the sampled population. The results were coded and entered into a statistics database (SPSS) for analysis. Findings suggest that there is a unique stylistic development and performance tradition within these churches.
Results reveal that the majority of Pentecostal church musicians in the Durban area have no formal training in music, yet are able to function as musicians within their congregations. Many musicians indicated their inability to read music as their greatest challenge. Consequently, this led to a great deal of time being spent on learning music. In almost all of the latter cases this occurred either autodidactally, communally and/or simply aurally. Musicians also indicated that financial difficulties were a setback, in that several were unable to purchase instruments and the necessary equipment to engage with their core music functions within the church. Many relied heavily on church support to assist with this need. These musicians possess an ability to perform technically and musically challenging music repertoire that demands advanced music skills and knowledge. This phenomenon attests to the power of informal music education. Many of these musicians go on to pursue successful careers as musicians and music educators.Art History, Visual Arts and Musicology
D. Litt. et Phil.
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Eberle, Catherine. "Mediating urban identity : orality, performance and poetry in the work of Koos du Plessis." Thesis, 2002. http://hdl.handle.net/10413/4452.
Full textAbstract:
In this article I examine as mediations of urban experience poems written by Koos
du Plessis. a contemporary Afrikaans poet. together with their musical rendition by
Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music
scene and former member of Die Gereformeerde Blues Band. The poetry was
initially published with musical arrangements in the volume Kinders van die Wind :
En Ander Lirieke (1981) . In order to use this material in an article produced as part
of an English study . I have translated the poetry into English . The translation (in
linguistic and performative terms) of these poems has the dual effect of rendering
them more appropriately for this study, and making them accessible to a wider
audience. I am concemed with the way poems written by a poet from an earlier
decade (the 1980s) interpret and mediate an urban identity and. further. with the fact
that performance not only gives them a new lease of life. but also transforms them
into works which have meaning and appeal for a more contemporary, broader
audience. The fundamental issues addressed in this poetry , namely a response to
and a negotiation of urban (South African) experience. continue to speak
compellingly today.Thesis (M.A.)-University of Natal, Durban, 2002.
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Durbach, David Justin. "A study of the linkages between popular music and politics in South Africa under Apartheid in the 1980s." Diss., 2015. http://hdl.handle.net/10500/18725.
Full textAbstract:
This dissertation seeks to explore how the exercise of political power and the
music industry impacted each other in South Africa under apartheid during the
1980s. It does so by looking firstly at the ways in which the South African
government used music to promote apartheid. Secondly, it looks at the role of
South African popular musicians in the struggle against apartheid in the country,
specifically their role in civil society and the methods they employed to fight
apartheid while avoiding censorship. It looks at key musical developments of the
decade and explores their political implications, focusing on three popular genres:
bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South
African music and musicians in the struggle against apartheid outside South
Africa. Finally, it looks at the role of music in the international anti-apartheid
movement and the contribution of the international music community to the
struggle.Political Sciences
M.A. (African Politics)
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Boake, Robert Ian. "Working music : an investigation of popular, non-sponsored, original music performance as a career." Thesis, 1994. http://hdl.handle.net/10413/3658.
Full textAbstract:
This dissertation investigates the working experiences of musicians who play original music as a form of employment. The study describes the venues and locations of music performance, including music clubs, concerts and festivals. This is done from the point of view of a concert-goer who is aware of the labour processes occurring at these shows, as well as the infrastructure and support necessary to make such events occur. The music investigated is original popular music which does not afford the artists any other forms of sponsorship apart from the earnings received from performances. The musicians interviewed are thus people who play music as their sole form of income, or aspire to be this position. The experiences of these musicians, as gleaned from loosely structured interviews utilising open ended questions, allow the study to make some generalisations about what it takes to play music as a fulltime form of employment. This is the focus of the study, particularly the fact that music is not only a skill and talent to be developed, but also that music is a unique job which has it's own stresses, strains and rewards. Problems experienced by the musicians, as described by the musicians themselves, cast a clearer understanding of the way in which this form of work is run. The actual mechanics of music performance, such as the prohibitive costs of equipment, and the dealings with club-owners, are discussed. Technology is evaluated in terms of its impact on music performance as a career. Some record companies were also approached in an attempt to understand the constraints and problems faced by these commercial enterprises. The perceptions that these companies have of local original music artists is contrasted with the perceptions that the artists seemed to have of the companies. This makes for interesting comparative material, and allows the study to identify some obstacles between artist and industry. The study concludes with a description of the local music industry and a discussion of some of the reasons why it has developed in this way, as well as a look at some suggestions for change.Thesis (M.Soc.Sc.)-University of Natal, Durban, 1994.
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Mowatt, Robert. "Popular performance : youth, identity and tradition in KwaZulu-Natal : the work of a selection of Isicathamiya choirs in Emkhambathini." Thesis, 2005. http://hdl.handle.net/10413/1858.
Full textAbstract:
In recent years there has been an increasing interest in the study of African popular arts and performance genres. In this study, I will focus on isicathamiya, a South African musical performance genre, and in particular the attempt of its practitioners to create new identities and a new sense of self through their own interpretation of the genre. This study will concentrate on the 'isicathamiya youth' in the semi-rural community of Emkhambathini (located about 30 kilometres east of Pietermaritzburg) and their strategies of self-definition in the New South Africa. Isicathamiya has strong roots in migrant labour and this has been the main focal point around which many researchers have concentrated. However, recent years have seen a movement of isicathamiya concentrated within rural and semi-rural communities such as Emkhambathini. The performers in these areas have a unique interpretation of the genre and use it to communicate their thoughts and identities to a diverse audience made up of young and old. In this study I will be looking at the 'isicathamiya youth' within three broad categories, the re-invention of tradition, the re-interpretation of the genre, and issues of masculinities. Each of these categories accounts for the three chapters within this study and serves to give a broad yet in-depth study of the 'new wave' of isicathamiya performers. The first chapter, entitled 'Traditional Re-invention', will deal with issues relating to the project of traditional 'redefinition' which the 'isicathamiya youth' are pursuing in Emkhambathini. I will show that tradition is not a stagnant concept, but is in fact ever-changing over time and place, a concept that does not carry one definition over an entire community. Through various song texts and frames of analysis I will attempt fto show how tradition is being used to further the construction of positive identities within Emkhambathini and give youth a place in Zulu tradition and in a multi-layered modernity. The second chapter will deal with how the 'isicathamiya youth' raise and stretch the boundaries of the genre in relation to a number of concepts. These concepts include topics of performance, women and popular memory and serve to give a broader view as to what the 'isicathamiya youth' are trying to achieve, namely a new positive self identity that seeks to empower the youth in the New South Africa. The last chapter will look at issues of masculinity and how the youth use different strategies to regain the masculine identities of their fathers and grandfathers and maintain patriarchal authority. Issues looked at within this chapter will include men's role within society and their perceptions of women.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005.
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Ntombela, Sipho Albert. "Amasu asetshenziswa ngomasikandi besizulu emculweni wabo." Thesis, 2011. http://hdl.handle.net/10500/10622.
Full textAbstract:
This research on the subject is one of a few written in the medium of isiZulu. Further, it is one of the few conducted on masikandi music in this depth. It identifies and analyzes strategies used by Zulu masikandis in their music.
The researcher in this study demonstrated that Zulu masikandis comprise males and females and that at present male masikandis are dominating this genre. Besides that, the study also revealed two categories of Zulu masikandis: those who recorded their music and those who could not. The researcher demonstrated also that Zulu masikandis use different effective strategies for different purposes in their music. He demonstrated that Zulu masikandis use different strategies to introduce themselves to their followers and their counterparts, to brag about certain members of their groups, to coin and use nicknames, to reveal their themes, to reveal their emotions, to use various types of imagery and to use strategies which are the results of influences of factors like Christianity, riddles, folktales and praise-poems.
Some of the challenges are that other masikandis find it very difficult to record their music owing to financial problems, other producers are corrupt, as masikandis are influential figures in public there is a danger that they can mislead the public by coining and spreading unstandardized Zulu expressions through their songs.
Finally, it must be pointed out that the study of masikandi music, particularly strategies used by Zulu masikandis, makes a great contribution to the study of literature. The reason is that it introduces a new path, the different strategies used by Zulu masikandis in their music, categories of Zulu masikandis, nicknames for Zulu masikandis which are coined by themselves and sometimes
by members of the public and different methods of collecting data to be used by other researchers. Therefore, it is worthy of publication.African Languages
D. Litt. et Phil. (African Languages)
45
Kriek, Elizabeth Margaretha. "Die simfonie in Suid-Afrika, 1970-1990 : 'n styl en struktuurstudie." Thesis, 1995. http://hdl.handle.net/10500/17130.
Full text
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Kok, Cornelia. "Implementering van die Transvaalse onderwysdepartement se senior primêre klasmusieksillabus vanaf 1978 tot 1992." Diss., 1995. http://hdl.handle.net/10500/17111.
Full textAbstract:
Text in AfrikaansSummaries in Afrikaans and English
The supposition exists that the Transvaal Education Department's Senior Primary Class Music syllabus is not being implemented in all aspects and that this is connected to teacher training. An empirical investigation was launched using three questionnaires and a classroom field study. Two questionnaires, completed by Class Music teachers, were used to assess to what extent the school syllabus was being followed. Teachers also had to provide information about their training in Class Music teaching. The third questionnaire offered a structured interview with school principals. The actualisation of Class Music, extra curricular music activities, the role of the teacher and teacher training were examined. Lessons for standard two pupils at twenty schools, were presented for an in-depth investigation. The results were tabulated, summarised in bar graphs and interpretations rendered. According to the findings, recommendations with regard to curriculum, the implementation of the syllabus, and tertiary Class Music training were made.
Daar is vermoed dat die seniorprimere Klasmusieksillabus van die Transvaalse Onderwysdepartement gedeeltelik gelmplementeer word en dat df t verband hou met onderwysersopleiding. In die lig hiervan is 'n empiriese ondersoek geloods deur middel van drie vraelyste en deur veldwerk. In die twee vraelyste wat deur Klasmusiekonderwysers voltooi is, is nagevors in watter mate die skoolsillabus gelmplementeer word. Verder het die onderwysers hulle Klasmusiekopleiding in hierdie verband aangetoon. Die derde vraelys vorm die raamwerk vir 'n gestruktureerde onderhoud met skoolhoofde. Die realisering van Klasmusiek, buite-kurrikulere musiekaktiwiteit en die rol van die onderwyser en onderwysopleiding is nagegaan. In 'n diepte-ondersoek is lesse by twintig skole vir standerdtweeleerlinge aangebied. Die resultate word in tabelle uiteengesit en in staafdiagramme saamgevat, terwyl waarnemings weergegee word. Op grondhiervan word aanbevelings gemaak oor kurrikulering, sillabusimplementering en tersiere Klasmusiekopleiding.
Art History, Visual Arts & Musicology
M.Mus
47
Yudkoff, Ambigay. ""When voices meet" : Sharon Katz as musical activist during the apartheid era and beyond." Thesis, 2018. http://hdl.handle.net/10500/25340.
Full textAbstract:
This study investigates the work of the performer, composer, educator, music therapist and activist Sharon Katz. Beginning in 1992, Katz made history in apartheid South Africa when she formed a 500-member choir that showcased both multi-cultural and multi- lingual songs in their staged the production, When Voices Meet, which incorporated music, songs and dance, intended to assist in promoting a peaceful transition to democracy in South Africa.
The success of the concerts of When Voices Meet led to Katz securing sponsorships to hire a train, “The Peace Train”, which transported 130 performers from city to city with media crews in tow. The performers’ mission on this journey was to create an environment of trust, of joy, and of sharing through music, across the artificially-imposed barriers of a racially segregated society.
This investigation includes several areas of inquiry: The South African Peace Train; the efforts of the non-profit Friends of the Peace Train; Katz’s work with Pennsylvania prisoners and boys at an American Reform School; the documentary When Voices Meet, and the American Peace Train Tour of July 2016, bringing the message of peace and harmony through song to racially and socio-economically divided Americans on a route that started in New York and culminated with a concert at UNESCO’s Mandela Day celebrations in Washington D. C. These endeavours are examined within the framework of musical activism.
The multi-faceted nature of Katz’s activism lends itself to an in-depth multiple case study. Qualitative case study methodology will be used to understand and theorise musical activism through detailed contextual analyses of five significant sets of related events. These include Katz’s work as a music therapist with prisoners in Pennsylvania and a Boys’ Reform School; as activist with The South African Peace Train of 1993; as humanitarian with Friends of the Peace Train; in making the documentary, When Voices Meet, and as activist with the American Peace Train Tour of 2016.
In documenting the grass-roots musical activism of Sharon Katz, I hope to contribute towards a gap in South African musicological history that would add to a more comprehensive understanding of musical activism and its role in social change.Art History, Visual Arts and Musicology
D. Litt. et Phil. (Musicology)
48
Fourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk." Thesis, 2000. http://hdl.handle.net/10500/18047.
Full textAbstract:
Text in AfrikaansDie lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu.
The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal
Theology
D.Th. (Theology)