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Dissertations / Theses on the topic 'Music and dance – South Africa – Limpopo'
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Thema, Kgaladi Malthews. "Sekgapa : a culture-based study of a musical tradition of BaPedi women of Mailula, Mmamabolo district, Limpopo Province, South Africa." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8142.
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Includes bibliographical references (leaves 86-88).This dissertation sets out to provide a culture-based study of BaPedi women's Sekgapa Music.The Preface presents the topic, the research environment and methodology, a review of the existing literature, fieldwork 'protocol' and a synopsis of the first recording events. Chapter 1 provides a historical background to the music, whose origins remain largely unaccounted for; and an account of the researcher's personal 'journey' which brought him to his research project. Chapter 2 concerns Sekgapa as a distinctive genre of women's music, reflecting their roles in BaPedi rural economy, and in their individual households, and community. There are also accounts ofSekgapa performance contexts and their social functions. Chapter 3 looks at some requirements of Sekgapa performance style (including dancing dress and delivery of Direlo Praises), something of the concepts underlying the musical action, and correlations between certain dance style variants and BaPedi totemic associations. Chapter 4 contains description of the sound instruments-the drums and their contribution to the music and playing methods and technique, (with some musical examples to illustrate thetext), and the construction of sound-making accessories (hand-and ankle-rattles). Chapter 5 provides descriptions of the basic musical components of Sekgapa-its form, structure and style, instrumental polyrhythm, vocal homophony (with musical examples and content and meanings of song-texts, using 10 songs as representative examples.) Chapter 6 provides reasons for the restricted scope of the musical analysis, and the use and function of Sekgapa performances for social education, directed at the youth. The research draws attention to the serious gap in African music research in South Africa, and in BaPedi musical culture generally. Andrew Tracey's urgent plea (1991) for the 'patronage' of African music and musicians work is recalled, because it is no less urgent today than it was fourteenyears ago. Tracey' stance on the matter of the unequal 'arts patronage situation' existing betv.een popular urban African music, which continues to enjoy government and media support. and cultural music in which musicians are denied this. is endorsed by the researcher, who reiterates the urgent need for African music conservation, through research and sustainable performance practice, before it is too late, and musical genres "stagnate" and disappear altogether.
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Kruger, Esthea. "An analysis of Priaulx Rainier’s Barbaric Dance Suite for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1883.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.Priaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.
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Green, Alida Maria. "Dancing in borrowed shoes : a history of ballroom dancing in South Africa (1600s-1940s)." Diss., Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10202009-190259.
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Macagnano, Marco. "A Centre for the Performing Arts: catalyst for urban regeneration." Diss., University of Pretoria, 2005. http://hdl.handle.net/2263/29892.
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Salvokop, the site chosen for this project, is due for some major changes in the next few years. Current development on Freedom Park, the future Gautrain initiative as well as a new drive by the local municipality to integrate the area into the CBD of Pretoria through a major 'Cultural Spine' throught the city make Salvokop a future destination of major interest. The Centre for the Performing Arts seeks to appeal to all facets of South African culture through a medium of expression that all appreciate: the medium of performance art. Specifically speaking, perfromance art applies to music, dance and drama. It is the ambition of this project to cater for al these forms on a level with which both public and performer may participate. Integration into the urban landscape is key, with this Centre engaging with the intended urban fabric of the area in such a way as to create a ariety of indoor and outdoor recreation and performance spaces.Dissertation (M Arch (professional))--University of Pretoria, 2005.
Architecture
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Rabothata, Thambatshira Tannie. "Women abuse as expressed in Tshivenda female songs." Thesis, University of Limpopo (Turfloop Campus), 2005. http://hdl.handle.net/10386/892.
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Thesis (Ph.D. (African Languages)) --University of Limpopo, 2005This study investigates the expression of women abuse through female songs. Groups of singers from twenty-two communities were listened to during the study. A qualitative analysis was undertaken. Songs obtained from secondary sources, were compared and analysed in the same way in which those obtained from the singers themselves were analysed. In particular, the usefulness of these singing groups was examined. It was found that most of the women who are experiencing abuse of some kind, derive perceived social support from fellow singers. All the women in the different singing groups declared that they were not singing for the sake of singing but that they were sending messages to the perpetrators of abuse in the expectation that a change will be realized. Singing groups were found to be effectively providing assistance in dealing with emotional abuse. The study thus illuminates the subjective use of referential expressions in expressing abuse. This emphasizes the challenge for singers to check whether or not the manner in which they present their pleas is appropriate.
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Koch-Locner, Aletta Maria. "Music for early childhood : guidelines for parents in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2007. http://hdl.handle.net/10019.1/19635.
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Thesis (M.Mus.)--University of Stellenbosch, 2007.ENGLISH ABSTRACT: The research for this thesis is presented in the form of a practical guideline for parents and educators in the Western Cape area. The important role of music in early childhood is emphasised throughout. Research, guidance and practical activities for the music education and development of the toddler and preschooler, are presented. The author answers and discusses the questions frequently asked by parents concerning musical education for their children, namely why, when and how, in the five chapters of the thesis. The importance of music education for children (the question concerning why) is discussed and emphasised by means of eleven different reasons supported by research. In Chapter 2, the important role of the parent as the child’s first music educator and prenatal stimulation is discussed (the question concerning when). In the two chapters that follow, the author provides parents with information about basic music concepts and skills that children should be able to master at specific ages. Throughout these chapters, practical activities to illustrate these concepts and to practise the relevant skills are suggested (the how question). Guidelines are presented concerning how play with the child should be approached and handled, as well as guidelines for the child’s first formal instrumental teaching and for choosing an instrument and a music teacher. The research is concluded with a practical section containing extensive lists of songs (in categories), CDs, DVDs, books and web addresses for the use of parents needing resources and further guidance.
AFRIKAANSE OPSOMMING: Die navorsing vir hierdie tesis word in die vorm van ‘n praktiese handleiding vir ouers en opvoeders in die Wes-Kaap provinsie aangebied. Die belangrike rol van musiek in die voorskoolse kind se lewe word deurgaans beklemtoon. Navorsing, riglyne en praktiese aktiwiteite vir die musiekopvoeding en ontwikkeling van die voorskoolse kindword, word prakties aangebied en bespreek.Die outeur beantwoord en bespreek die vernaamste vrae wat ouers ten opsigte van musiekopvoeding vir hul kinders vra, naamlik hoekom, wanneer en hoe, in die vyf hoofstukke van die tesis. Die belangrikheid van musiekopvoeding vir kinders (die hoekom vraag) word aan die hand van elf verskillende redes en wat deur navorsing ondersteun word, bespreek. Die belangrike rol van die ouer as eerste musiekopvoeder en prenatale stimulasie word in Hoofstuk 2 bespreek (die vraag aangaande wanneer). In die twee daaropvolgende hoofstukke bied die outeur verdere inligting aan ouers oor basiese musiekkonsepte en vaardighede wat kinders op sekere ouderdomme moet kan bemeester. Praktiese aktiwiteite om hierdie konsepte te illustreer en die verlangde vaardighede te oefen (die hoe vraag) word deurgaans voorgestel. Riglyne word gegee oor hoe spel met die kind benader en hanteer moet word, asook riglyne vir die kind se eerste formele instrumentale onderrig, die keuse van ‘n instrument en van ‘n musiekonderwyser. Die navorsing word afgesluit met ‘n praktiese afdeling waarin uitgebreide lyste van liedjies (volgens verskillende kategorieë), beskikbare CD-opnames, DVD-opnames, boeke en webadresse vir ouers gegee word as bronne en as verdere riglyne.
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Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class." Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.
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This study seeks to explore mathematical concepts embedded in traditional Xhosa dance and how these concepts can be incorporated into a learning programme for the teaching and learning of mathematics. The study seeks to gain insight into whether learners could benefit from the implementation of such a learning programme. Learners from a Grade 7 class in a rural school performed traditional Xhosa dances and their performances were captured through video recording. The video recordings were then observed and analysed to determine the mathematical concepts embedded in the dances. These concepts were then linked to those found in the Grade 7 mathematics curriculum. A learning programme integrating mathematical concepts from the dance activities with mathematical concepts from the Grade 7 curriculum was then designed. The learning programme contained mathematical problem solving activities that required learners to re-enact the dance performances in order to find the required solutions. The learning programme was then implemented with the learners over a period of three weeks. During the implementation, learners’ behaviour towards the learning experience was observed, their engagement with the problem solving activities as well as their strategies for solving the problems, were carefully observed. Also, their interactions with each other were noted. After the implementation of the learning programme, focus group interviews were held with learners to determine their opinions, attitudes and feelings about their experience of learning mathematics through traditional Xhosa dance. Key findings indicated that traditional Xhosa dance can be used as a medium for learning many concepts in the mathematics curriculum; the use of the dance gave learners an opportunity to learn mathematics from a familiar context and to participate actively and collaboratively in their learning. Also, it emerged that the use of dance to teach mathematics had potential to help improve learners’ attitudes towards mathematics. Conclusions were reached that the dance had potential for use as a means for the meaningful learning of mathematics. However, limitations and challenges with the study were identified, such as its limited replicability in other mathematics classrooms.
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Stirling, Scott. "The neo-diaspora : examining the subcultural codes of hip-hop and contemporary urban trends in the work of Kudzanai Chiurai and Robin Rhode." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002219.
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This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.
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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.
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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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Prior, Briony Ruth. "Intercultural music education in South Africa : introducing gumboot dance to the classroom." Thesis, 1996. http://hdl.handle.net/10413/8916.
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Khosa, Hanyani Aubrey. "An investigation into Ku Thawuza music and dance as an indigenous art form." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001487.
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M. Tech. DanceKnowledge of cultural dances and songs is one of the key aspects necessary for a comprehensive understanding of the customs of any cultural group. This includes indigenous cultural practice of a particular cultural group, which in themselves have a plethora of different performance practices and categories that are extensive and unique in their own right. The indigenous music and dance of Vatsonga is no exception. It is against this background that this study was undertaken. This study seeks to collect, document, promote and preserve the Xitsonga indigenous art form, namely, Ku Thawuza music and dance, by means of transcribing and investigating it.
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Rambau, Lutanani Annah. "Music in the making: a case study of the Caravan Traditional Dance Group." Diss., 2015. http://hdl.handle.net/10500/19625.
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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.
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Madzivhandila, Meisie. "Investigating the socio-economic impact of music piracy on the careers of gospel musicians :a case study of Thohoyandou." Diss., 2016. http://hdl.handle.net/11602/406.
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Morokolo, Mokgetle. "A critical analysis of dinaka : a Moletjie Village case study." Diss., 2014. http://hdl.handle.net/11602/167.
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Desai, Desmond. "The ratiep art form of South African muslims." Thesis, 1993. http://hdl.handle.net/10413/8929.
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The ratiep is a peculiarly South African trance-linked art form characterised by stabbings with sharp objects to the arms and other bodily parts, the piercing of the ear-lobes, the cheeks and the tongue by alwaan (skewers), the performance of certain standard dhikr to the accompaniment of the rebanna and dhol, and a highly stylized movement. The ratiep art form is rooted in Sufi Muslim traditions. Similar trance-linked art forms, called the dabos and Sufi ceremonies, exist in Sumatra and Syria respectively. These are all linked to Abdul Kader al-Jilani, founder of the Qadiriyyah Sufi fraternity. The South African variant of the art form also characterised by unusual self-mutilating acts, has been practised for more than 200 years, and started
amongst the Cape Muslims. The literature provides historical evidence of the controversy regarding its "Islamic" nature,
which has existed since the latter half of the previous century amongst South African Muslims. It has become dissociated from Islamic practices generally, and is regarded as bidat (innovatory). The South African Indian ratiep performance relates to its Cape Muslim counterpart. Both subgenres show a special relationship to the different genres and styles of music
constituting South African Islamic and 'Cape Malay' music which are unique outflows of the cultural heritage, the social milieu and the enslaved, deprived and indentured work circumstances of early South African Muslims. In its vocal style the khalifa performance relates to qiraat and the secular nederlandslied; the latter is a transitional form between the sacred orthodox qiraat and the secular homophonic oulied. A voorwerk and giyerwee sharif precede respectively the Cape Muslim performance and its Indian counterpart. Like the ratiep, they have well-defined textual and musical forms. Ratiep musical instruments. the characteristic movement, the praboes (sharp instruments) and the bank with its decorations of flags add to the totality of the ratiep performance. Metaphysical and medical considerations are important in understanding the nature and purpose of the ratiep performance and the absence of bleeding; the results achieved thus far are still inconclusive. Ratiep acts are often seen as skilful swordplay and exhibitionism, rather than a physical testimony of faith.Thesis (Ph.D.)-University of Natal, 1993.
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Manganyi, Phakanani Paicky. "Nxopaxopo wa vuyimbeleri bya Conny Chauke hi ku kongomisa eka nhlayiso na nhluvukiso wa Xitsonga." Diss., 2016. http://hdl.handle.net/11602/383.
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Gqada, Nomusa Constance. "The effect of a dance and music programme on the functional ability of the residents of an old age home in Pietermaritzburg, KwaZulu-Natal." Thesis, 2016. http://hdl.handle.net/10321/1691.
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Dissertation submitted in compliance with the requirements for the Master’s Degree in Technology: Nursing, Durban University of Technology, Durban, South Africa, 2016.Life expectancy has increased rapidly since the beginning of the twentieth century and people aged 65 and older form the fastest growing segment of the population. With the onset of old age, comes social, physical and psychological challenges that result in morbidity and loss of independent life. For some of the socially and economically marginalized elderly this often means living in a long term facility. This study determined the effect of a dance and music programme on balance and function in the residents of a selected old age home in Pietermaritzburg. Aim of the study The study determined the effect of a dance and music programme on the balance and functional ability of the residents of the old age home. Methodology A pre-test/post-test experimental design was used in this study. The eligible participants were randomly assigned to two groups, the experimental and the control groups. The experimental group participated in the 12 week programme of a dance and music programme offered twice weekly while the control group received standard care. Both groups’ functional abilities and balance capabilities were assessed before and after the intervention. Results The results revealed that dance and music programme did not statistically improve balance and function. Function improved in the experimental group post-test compared to the pre-test. Positive feelings expressed during the classes indicate that the intervention had a positive effect on the participants. Conclusion The dance and music programme improved function. It is recommended that residents of the geriatric home be offered this dance and music programme as a long term activity.
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Mokgetle, Morokolo. "Mmino wa Bana: An African musicological study of Moletjie community musical practices." Thesis, 2018. http://hdl.handle.net/11602/1257.
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PhD (African Studies)Department of African Studies
Mmino wa bana (Children’s songs) are subjected to many changes today; so much so that in time it could cease to exist in its original form or be replaced by genres promoted on televisions. This study focuses on the genre as practised in the Moletjie community. The study explores mmino wa bana by examining its musicological elements, educational validity, and the general social functions within the context of the Moletjie community. By providing insight into these aspects, we could be able to ascertain the transportability of musical elements and philosophies across many contexts. Twenty-one children’s songs were collected for the study. In addition, interviews were conducted with elders and members of the Moletjie royal family to capture the narrative views of the genre. Additional information was also captured in the form of diary notes. The study used an Afrocentric approach as its theoretical framework. The design was qualitative with semi structured interviews functioning as the mode of data collection. For analysis, music programs were used. The body of knowledge emanating from the study is packaged in such a way that it could be used by scholars in African musicology, policy planners, and others interested in the culture of the people of Moletjie community. The school will also find the study to be a useful resource in crafting textbooks for classroom purposes.
NRF
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Mushwana, Arnold. "Nxopaxopo wa Nkoka wa Tinsimu ta Thomas Hasani Chauke oka ku Tlakusa na ku Hluvukisa Xitsonga na Ndhavuko wa Vatsonga." Thesis, 2016. http://hdl.handle.net/11602/679.
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PhD (Xitsonga)Xikolo xa Tisayense laswa Vanhu na Mahanyelo
Ndzavisiso lowu wu thyiwile Nxopaxopo wa Nkoka wa Tinsimu ta Thomas Hasani Chauke eka ku Tlakusa na ku Hluvukisa Xitsonga na Ndhavuko wa Vatsonga (An Analysis of the Role of Thomas Hasani Chauke’s Songs in the Development and Promotion of Xitsonga and Vatsonga Culture). Xikongomelonkulu xa ndzavisiso lowu i ku xopaxopa vuyimbeleri bya Thomas Hasani Chauke byi wu tirheke hakona ku ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga hakona. Hi lembe ra 1996 Vumbiwa bya tiko lebyi byi hlohlotelaka leswaku tindzimi hinkwato ta khumen’we ta ximfumo ti fanele ku khomiwa ku ringana byi pasisiwile. Kambe loko hi xiya hi kuma leswaku tindzimi ta Vantima ta ha ri eka xiyimo xa le hansi swinene. Huvo ya Pan South African Language Board (PanSALB) leyi simekiweke ku ringeta ku tlakusa na ku vona leswaku tindzimi hinkwato ta ximfumo ta hluvuka yi kuma swisolo eka vanhu lava pumbaka leswaku ntirho wa vona wu famba hi rivilo ra rimpfana. Leswi swi endle leswaku van’watindzimi va sungula njhekanjhekisano wo lava tindlela to vona leswaku tindzimi ta Vantima ta hluvukisiwa. Eka Xitsonga, muyimbeleri wo fana na Thomas Hasani Chauke u le ku tlangeni ka xiave xikulu eka ku hluvukisa na ku tirhisa Xitsonga na ku tlakusa ndhavuko wa Vatsonga hi vuyimbeleri byakwe. Ndzavisiso ku ya hi nkoka hi wona wu nga ta tirhisiwa eka xitsalwana lexi. Tinsimu to hambanahambana leti eka nandzelelo wa yena wa Shimatsatsa leti kandziyisiweke ku suka hi 1980 ku fika hi 2014 ti ta xopaxopiwa hi ku tirhisa thiyori yo xopaxopa. Ndzavisiso lowu wu kumile leswaku Thomas Hasani Chauke u tlanga xiave xikulu swinene eka ku tlakusa na ku hluvukisa Xitsonga na ndhavuko wa Vatsonga. Matirhiselo ya yena ya ririmi na mikongomelo leyi a yimbelelaka hi yona hi swona swi nga ta kombisa mhaka leyi.
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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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Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
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Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).Art history, Visual Ars and Musicology
D. Mus
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Zervogiannis, Fanitsa Helen. "The "e" in rave : a profile of young ecstasy users and its implication for educators." 2000. http://hdl.handle.net/10500/17873.
Full textAbstract:
The use of methylenedioxymethamphetamine (MDMA) or Ecstasy is a phenomenon that has established itself in the widespread Rave culture. Ecstasy use causes not only physical, social and psychological problems in the development of the adolescent but may also influence his concentration and learning abilities. To prevent these problems educators should be well informed regarding current drug use trends and also be capable of assisting adolescents. Research regarding the nature of Ecstasy use and the characteristics of its users is lacking nationally. The increase in use amongst school going adolescents and young adults and the fact that there are side effects and unknown long term effects has made it imperative that educators learn as much as possible about this drug. The purpose of this research is therefore to furnish the educator with accurate information that will enable him to obtain a reference point from which assistance can be offered to the young Ecstasy user.Psychology of Education
M.Ed.(Guidance and Counselling)