Academic literature on the topic 'South african composers'
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Journal articles on the topic "South african composers"
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Gibson, Dylan Lawrence. "The impact of the fostering of European industry and Victorian national feeling on African music knowledge systems: Considering possible positive implications." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 97–108. http://dx.doi.org/10.1386/jepc_00003_1.
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The European (Victorian) missionary influence on traditional African music in South Africa is largely seen in a negative light and not much focus is placed on possible positive implications. This article therefore serves to explore how external European influences, harnessed by some African musicians, partially aided in preserving and generating conceivably ‘new’ Euro-African hybrid traditional music genres – while at the same time preserving some fragmented forms of indigenous music knowledge for future generations. In general, the ultimate aim for the European missionaries was to allow Africans to, in effect, colonize ‘themselves’ by using their influence of Victorian (British nationalist) religion, education, technology, music and language as a means to socially ‘improve’ and ‘tame’ the ‘wild’ Africans. However, specifically with reference to music, African composers and arrangers – despite this colonizing influence – occasionally retained a musical ‘uniqueness’. John Knox Bokwe, an important figure in what can be termed the ‘Black Intellect’ movement, displays this sense of African musical uniqueness. His arrangement of ‘Ntsikana’s Bell’, preserved for future generations in the Victorian style of notation (or a version thereof), best illustrates the remnants of a popular cultural African indigenous musical quality that has been combined with the European cultural tonic sol-fa influence. Furthermore, the establishment of the popular cultural ‘Cape coloured voices’ also serves to illustrate one dimension of the positive implications that the fostering of European industry (industrialized developments) and Victorian national feeling/nationalism left behind. This is largely because this choral genre can be termed as a distinctly ‘new’ African style that contains missionary influence but that still retains an exclusive African quality.
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Thram, Diane. "JAZZ IN SERVICE OF THE STRUGGLE." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 67–102. http://dx.doi.org/10.21504/amj.v10i4.2234.
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This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.
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Tang, Patricia. "TWENTY-FIRST CENTURY SABAR DRUMS: INNOVATIONS IN ORGANOLOGY AND PERFORMANCE PRACTICES IN SENEGAL AND THE DIASPORA." African Music: Journal of the International Library of African Music 11, no. 1 (December 1, 2019): 49–71. http://dx.doi.org/10.21504/amj.v11i1.2292.
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This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.
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Muller, Stephanus. "A COMPOSER IN AFRICA: AN INTERVIEW WITH STEFANS GROVÉ." Tempo 61, no. 240 (April 2007): 20–27. http://dx.doi.org/10.1017/s0040298207000101.
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South African composer Stefans Grové celebrates his eighty-fifth birthday this year. Grové studied under Erik Chisholm in Cape Town, took his Master's at Harvard under Walter Piston and attended Aaron Copland's composition class at the Tanglewood Summer School. He taught for over a decade at the Peabody Institute in Baltimore before returning to South Africa in 1972. He is Composer in Residence at the University of Pretoria.
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du Plessis, André. "WIKIS AND POWERPOINT AS COGNITIVE DEVELOPMENT TOOLS IN SCIENTIFIC LITERACY: A PROPOSED HEURISTIC." Problems of Education in the 21st Century 57, no. 1 (December 25, 2013): 25–47. http://dx.doi.org/10.33225/pec/13.57.25.
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The overall performances in the Trends in International Mathematics and Science Study (TIMMS) and Progress in International Reading Literacy Study (PIRLS) of South African learners have been dismal to say the least and the Annual National Assessment test results of grade 3, 6 and 9 learners related to general literacy and mathematics have left a lot to be desired. Clearly this suggests that something has to be done to address this. At the same time, South African education is still suffering as a result of the legacy of apartheid and the great majority of schools are lacking basic resources such as libraries, infrastructure and Information and Communication Technology (ICT) resources, including internet connectivity. General learner literacy and ICT literacy development and usage for learning are high on the government’s agenda, as is scientific literacy. However, there seems to be a dearth of ‘how to’ implement ICT related activities to develop reading, talking, listening and writing within a science classroom learning context with special reference to promoting scientific literacy in its fundamental sense. The theoretical and practical outline that follows attempts to assist filling the void related to the above by introducing an ICT based scientific literacy heuristic that is infused by the ICT based ‘Extended Cyberhunt Approach’ of Du Plessis (2010) and Du Plessis and Webb (2011, 2012, in press) and the off-line Scientific Literacy model of Webb and Villanueva (2008); Webb and Mayaba (2010) and Webb (2010). The focus of the heuristic is to develop scientific reading, talking, listening and writing, as well as to establish a different classroom learning space and experience. In addition, it adds emphasis on on-going feedback from the teacher to the learners as well as focusing on reflection and journal writing to inform teacher planning and subsequent interactions in the science classroom. The additional potential of the heuristic is not only that it offers ICT literacy skills development and the development of skills within a curriculum related science context, but also that ICT skills can be developed even without internet connectivity through using Microsoft Word and/or PowerPoint for writing development and presentation or adding Web 2.0 tools such as a Wiki to complement Microsoft Word and/or PowerPoint if connectivity is available. Research suggests that various skills such as planning, searching and researching, presentation, assessment as well as various cognitive skills can be developed when ICT is used as a cognitive tool in a ‘Learning-as-Design’ context, i.e. when learners (students) become the designers and composers of artefacts related to topics that are curriculum based. This paper also then forms the base for an intervention in two primary schools in the Eastern Cape Province in South Africa that has received ICT resources for the first time ever, including internet connectivity, in September 2013. Hence, the anticipated research within these two schools will explore whether this heuristic has the potential to assist with and improve scientific reading, talking, listening and writing, as well as whether this approach improves motivation and interest related to science learning and ICT literacy development, including the potential to develop planning, searching and researching, presentation, assessment as well as various associated cognitive skills. Key words: cognitive tools, heuristic, ICT, PowerPoint, Internet, scientific literacy.
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Brauer-Benke, József. "Afrikai citerák." Afrika Tanulmányok / Hungarian Journal of African Studies 14, no. 3-4. (January 30, 2021): 47–73. http://dx.doi.org/10.15170/at.2020.14.3-4.3.
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A general historical survey of African zither types cannot fail to highlight the disproportionalities brought about in the study of Africa by the essentialistic ideology of Afrocentrism. Thus the widely known videoclip of the 1987 hit Yé-ké-yé-ké by the late Mory Kante (d. 22nd May 2020), musician and composer of Guinean Mandinka origin has allowed millions to experience the kora harp lute with which he accompanied his song and popularized this instrument as well as the musical tradition of the West African griots, while the obviously related mvet harp zither is scarcely known today. This despite the fact that both the latter instrument type and its specialists, the mbomo mvet master singers, played a very similar role in the cultures of the Central African chiefdoms, as did the nanga bards playing the enanga trough zither in the East African kingdoms. Another important and interesting historical insight provided by a careful morphological and etymological analysis of African zither types and their terminology that takes comparative account of South and Southeast Asian data and ethnographic parallels concerns the possibility of borrowings. Thus stick and raft zither types may well have reached the eastern half of West Africa and the northeastern part of Central Africa – several centuries prior to the era of European geographical explorations – owing to population movements over the Red Sea. It seems therefore probable that the African stick bridges harp zithers (in fact a sui generis instrument type rather than a subtype of zithers) developed from South Asian stick zither types. On the other hand, tube zithers and box zithers – fretted-enhanced versions of the stick zither – certainly reached Africa because of the migration of Austronesian-speaking groups over the Indian Ocean, since their recent ethnographic analogies have survived in Southeast Asia as well. By contrast types of trough zither, confined to East Africa, must have developed in Africa from box zither types, which are based on similar techniques of making the strings tense. The hypothesis of African zither types having originated from beyond the Indian Ocean is further strengthened by the absence of these instruments in such regions of Sub-Saharan Africa as the Atlantic coast of West Africa as well as in Northeast, Southwest and South Africa. Thus the historical overview of African zither types also helps refute the erroneous idea that prior to the arrival of European explorers and colonizers the continent was isolated from the rest of the world. In fact seafaring peoples such as the Austronesians, Chinese, Indians, Arabs and Persians did continually reach it, bringing with them cultural artifacts, production techniques and agricultural products among other things, which would then spread over large distances along the trade routes over Africa.
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Larbes, Said, D. James Harris, Catarina Pinho, Alexandra Lima, José Carlos Brito, and Miguel Carretero. "Relationships of Podarcis wall lizards from Algeria based on mtDNA data." Amphibia-Reptilia 30, no. 4 (2009): 483–92. http://dx.doi.org/10.1163/156853809789647103.
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AbstractRecent molecular studies indicate that Podarcis wall lizards occurring in the southern region of the Iberian Peninsula and in North Africa, from south Morocco to eastern Tunisia, constitute a monophyletic group composed of several highly differentiated forms that appear to be incipient species. However, Algerian populations, which are geographically intermediate, have not been investigated so far. In this study we determine the levels of genetic variability between Algerian populations and other North African populations, using a more extensive sampling scheme covering most of the distribution range in this area. Our results show that North African Podarcis present high genetic diversity, comprising at least five highly divergent lineages. Two of these lineages were only detected in Algeria, which harbours most of the genetic diversity found within Podarcis from North Africa.
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Olwage, Grant. "John Knox Bokwe, Colonial Composer: Tales about Race and Music." Journal of the Royal Musical Association 131, no. 1 (2006): 1–37. http://dx.doi.org/10.1093/jrma/fki010.
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This article intervenes in debates on the status of ‘race’ in ethno/musicological writings. It does so through an examination of the compositional discourse of colonial black South African choral music, particularly detailed analyses of the work of John Knox Bokwe (1855–1922) and their metropolitan sources such as late nineteenth-century gospel hymnody, exploring both how Bokwe's compositional practice enacted a politics that became anticolonial and how early black choral music became ‘black’ in its receptions. The article concludes that ethno/musicological claims that colonial black choral music contains ‘African’ musical content conflate race and culture under a double imperative: in the names of a decolonizing politics and a postcolonial epistemology in which hybridity as resistance is racialized.
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Stanley, Liz, and Sue Wise. "Putting it into Practice: Using Feminist Fractured Foundationalism in Researching Children in the Concentration Camps of the South African War." Sociological Research Online 11, no. 1 (April 2006): 14–50. http://dx.doi.org/10.5153/sro.1121.
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Feminist fractured foundationalism has been developed over a series of collaborative writings as a combined epistemology and methodology, although it has mainly been discussed in epistemological terms. It was operationalised as a methodology in a joint research project in South Africa concerned with investigating two important ways that the experiences of children in the South African War 1899-1902, in particular in the concentration camps established during its commando and ‘scorched earth’ phase, were represented contemporaneously: in the official records, and in photography. The details of the research and writing process involved are provided around discussion of the nine strategies that compose feminist fractured foundationalism and its strengths and limitations in methodological terms are reviewed.
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Pohl, K., M. Cantwell, P. Herckes, and R. Lohmann. "Black carbon concentrations and sources in the marine boundary layer of the tropical Atlantic Ocean using four methodologies." Atmospheric Chemistry and Physics 14, no. 14 (July 18, 2014): 7431–43. http://dx.doi.org/10.5194/acp-14-7431-2014.
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Abstract. Combustion-derived aerosols in the marine boundary layer have been poorly studied, especially in remote environments such as the open Atlantic Ocean. The tropical Atlantic has the potential to contain a high concentration of aerosols, such as black carbon, due to the African emission plume of biomass and agricultural burning products. Atmospheric particulate matter samples across the tropical Atlantic boundary layer were collected in the summer of 2010 during the southern hemispheric dry season when open fire events were frequent in Africa and South America. The highest black carbon concentrations were detected in the Caribbean Sea and within the African plume, with a regional average of 0.6 μg m−3 for both. The lowest average concentrations were measured off the coast of South America at 0.2 to 0.3 μg m−3. Samples were quantified for black carbon using multiple methods to provide insights into the form and stability of the carbonaceous aerosols (i.e., thermally unstable organic carbon, soot like, and charcoal like). Soot-like aerosols composed up to 45% of the carbonaceous aerosols in the Caribbean Sea to as little as 4% within the African plume. Charcoal-like aerosols composed up to 29% of the carbonaceous aerosols over the oligotrophic Sargasso Sea, suggesting that non-soot-like particles could be present in significant concentrations in remote environments. To better apportion concentrations and forms of black carbon, multiple detection methods should be used, particularly in regions impacted by biomass burning emissions.
Dissertations / Theses on the topic "South african composers"
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Webb, Clare Louise. "An annotated catalogue of selected works for clarinet by South African composers." Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8030.
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The dissertation consists of an annotated catalogue of nineteen selected works for clarinet by South African composers. These are presented in chronological order, based on the year of composition. A short biographyof the composer is given before the work is discussed. Of the analysed works, all those for solo clarinet or for clarinet and piano have been graded. A thesis of a similar nature, written in 1989 by L.A. Hartshorne, entitled ""The Compositions for Clarinet by South African Composers"", contains details of twenty-four works written between 1928 and circa 1981. The majority of the compositions analysed in the current dissertation were written from around 1981 onwards, and to some extent, therefore, this research could be seen as complementary to the information contained in the aforementioned thesis. An addendum lists all the South African works featuring solo clarinet that the author was able to trace. These include solo works, cham ber works for up to nineteen instruments and concerto-type works with strings or orchestra.
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Haecker, Allyss Angela. "Post-Apartheid South African choral music: an analysis of integrated musical styles with specific examples by contemporary South African composers." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3461.
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Martens, Hester Susanna. "String quartets by South African composers : a comprehensive catalogue and annotated discussion of works composed between 1940 and 2016." Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65579.
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The projected outcome of this mixed methods research document is the compilation of a catalogue of South African string quartets, composed between 1940 and 2016. The main motivation for the choice of topic is the author’s aspiration to create a document containing basic information, as well as performance notes, where possible, regarding as many quartets, composed within this time frame, as could be found. Every effort has been made to create a document that is as comprehensive as possible, containing specific information regarding the works discussed. Works by more than 75 composers are listed in alphabetical order according to the composer’s surname. Each composer’s works are listed chronologically according to date of composition. Although this document lists more than 180 works for string quartet, as well as a few significant works for string quartet with one or two other voices, this document should not be regarded as fully comprehensive. Each catalogue inscription consists of the name, birth year and birth place of the composer; country of residence, if not in South Africa; publishing details of the composer, where applicable; contact details of the composer; title of work and year of composition; dedicatee and commission, where applicable; approximate duration; titles of movements; details of first performance; details of recordings; notes (annotations). The catalogue is preceded by a succinct historic overview of the development of the string quartet as a medium, as well as a timeline of composers of string quartets in South Africa. A short chapter explaining the annotation process is included. The research document concludes with suggestions for further investigation.Thesis (DMus)--University of Pretoria, 2017.
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Delport, Wilhelmus. "Piano sonatas by South African composers, 1900-2015: a catalogue and compositional analyses of selected works." Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32240.
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The piano sonata’s prominent position in Western art music is reflected in both its long history and its presence in the oeuvres of composers from across the globe. While some information on piano sonatas by South African composers has been included in academic literature, no comprehensive research has been done in the field. This lacuna is addressed in this thesis of which the main research strategy is analytical, without precluding other data-collection methods such as literature studies, archival research and consultation with composers. The thesis comprises an introductory chapter with background information and an outline of the principal research aim and objectives; a general literature review of scholarly work in the field; a summary of academic literature on solo piano sonatas by South African composers; detailed analyses of two recent and diametrically opposed 21st-century solo piano sonatas, by Hendrik Hofmeyr (1957- ) and Graham Newcater (1941- ) respectively; and a final chapter with concluding remarks. Detailed catalogues of sonatas by South African composers, for piano as well as for other instruments, are included as appendices. Findings show that in correspondence with international trends, the piano sonata has held a prominent role in South African music-making with more than 230 works completed since 1900. A chronological estimation shows a more-or-less gradual increase in the number of sonatas composed up to 1975. 30 works were finalised between 2006 and 2015, suggesting that many contemporary composers continue to reference sonata structures as a guiding principle in largescale forms. The characteristics of the majority of sonatas analysed and those discussed in the literature summary correlate to some extent with 19th- and 20th-century traditions. There are nevertheless also various exceptions and novel explorations of traditional sonata practices. From a stylistic perspective, the works engage with a range of international aesthetic discourses, constantly repositioned within the post-colonial, South African zeitgeist. The sonata’s prominent position in South African art music is not only reflected in the historically high frequency of its use, but also in the ways the sonata paradigm is continuously being reinvented, deconstructed and developed to reflect the country’s idiosyncratic and dynamic cultural identity
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Van, Rhyn Chris. "Towards a mapping of the marginal : readings of art songs by Nigerian, Ghanaian, Egyptian and South African composers." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85813.
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Thesis (PhD)--Stellenbosch University, 2013.ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity.
AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.
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Kinsey, Avril. "Music for classical guitar by South African composers : a historical survey, notes on selected works and a general catalogue." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8253.
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Includes abstract.Includes bibliographical references (leaves 296-309).
This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet. The body of the dissertation comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa's most prominent composers and guitaristcomposers. The repertoire ranges in style from the traditional and ethnically inspired to the experimental and abstract. As this is an empirical survey, each selected entry includes details on instrumentation, duration, level of difficulty, number of pages, scordatura, commissions or requests, sources or publishers, premières and recordings. A biography of each composer is provided as well as background notes which offer an overview of the selected work. The notes discuss historical, cultural, musical and extra-musical influences, and frequently include references to interview material. The commentaries on the selected works, with musical examples, include an analytical component describing structure, form, stylistic and compositional elements, while the technical observations include performance suggestions and a grading for each work.
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Mpola, Mavis Noluthando. "An analysis of oral literary music texts in isiXhosa." Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1012909.
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This study examines the relationship between composed songs in isiXhosa and the field of oral literature. In traditional Xhosa cultural settings, poetry and music are forms of communal activity enjoyed by that society. Music and poetry perform a special social role in African society in general, providing a critique of socio-economic and political issues. The research analyses the relationship that exists between traditional poetry, izibongo, and composed songs. It demonstrates that in the same way that izibongo can be analysed in order to appreciate the aesthetic value of an oral literary form, the same can be said of composed isiXhosa music. The art of transmitting oral literature is performance. The traditional izibongo are recited before audiences in the same way. Songs (iingoma) stories (amabali) and traditional poetry (izibongo) all comprise oral literature that is transmitted by word of mouth. Opland (1992: 17) says about this type of literature: “Living as it does in the performance is usually appreciated by crowds of people as sounds uttered by the performer who is present before his/her audience.” Opland (ibid 125) again gives an account of who is both reciter of poems and singer of songs. He gives Mthamo’s testimony thus: “He is a singer… with a reputation of being a poet as well.” The musical texts that will be analysed in this thesis will range from those produced as early as 1917, when Benjamin Tyamzashe wrote his first song, Isithandwa sam (My beloved), up to those produced in 1990 when Makhaya Mjana was commissioned by Lovedale on its 150th anniversary to write Qingqa Lovedale (Stand up Lovedale). The song texts total fifty, by twenty-one composers. The texts will be analysed according to different themes, ranging from themes that are metaphoric, themes about events, themes that depict the culture of the amaXhosa, themes with a message of protest, themes demonstrating the relationship between religion and nature, themes that call for unity among the amaXhosa, and themes that depict the personal circumstances of composers and lullabies. The number of texts from each category will vary depending on the composers’ socio-cultural background when they composed the songs. Comparison will be made with some izibongo to show that composers and writers of izibongo are similar artists and, in the words of Mtuze in Izibongo Zomthonyama (1993) “bathwase ngethongo elinye” (They are spiritually gifted in the same way).
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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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Martens, Hester Susanna. "Vakdidaktiese beskouing van geselekteerde Suid-Afrikaanse vioolmusiek." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2525.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.This study represents a contribution to the subject-didactical review of three prominent compositions for the violin by three prominent South African composers, namely the Sonata on African Motives by Stefans Grové (1985), Luamerava by Hendrik Hofmeyr (2000) and the Concerto for violin and orchestra by Allan Stephenson (2007). The three composers are discussed with reference to biographical detail and broad compositional style, while the works are reviewed according to musicological aspects as well as violin specific didactical aspects. To avoid too much repetition, a chapter concerning technical issues and practice methods pertaining to all three works was added. In the Sonata on African Motives, Stefans Grové merges his “old” compositional style, in this work loosely represented by a lack of tonality and metre, as well as complicated use of rhythm, with his “new” African voice (1984-). The African voice, represented by a melody he overheard a black roadworker sing, ties the work together. The sonata consists of five movements, with the first and fourth movements, and the third and fifth movements linked through content. This work presents challenging ensemble playing, rhythmic detail, diverse timbre changes in the violin part, as well as pitch difficulty due to unusual intervals without tonal context. Hendrik Hofmeyr‟s Luamerava was commissioned by SAMRO for the overseas scholarship. The title refers to the last of the mythical Children of the Lost Star who lived in the Cariba gorge on the banks of the Zambezi river (according to Mutwa‟s description of the oral culture of the people of that region). The piece, like the Grové, is thus linked to Africa. The work was composed for solo violin, Hofmeyr makes the most of the lyrical and sonorous qualities of the instrument. Compared to the other two works studied, Luamerava presents the most advanced technical challenges, with extensive doublestopping being the main challenge. Allan Stephenson‟s Concerto differs significantly from the other two works studied in the sense that it is instantly appealing to the general music lover, mainly because of his use of easy flowing melodies. The concerto has, as is tradition, three movements. Although the work contains ample technical challenges, it is obvious that it was composed by a string player – both the extensive running passages and double stopping are quite possible to play once good fingerings have been found. In the discussion of these works, attempts at solving specific technical problems are made.
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Grove, Stefan Henry. "Suid-Afrikaanse musiek vir tjello en orkes." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17370.
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Thesis (M.Mus.)-- University of Stellenbosch, 2006.ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004). The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer. Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece. Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music. The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static. Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias).
AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004). Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering. Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie. Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie. Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties. Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).
Books on the topic "South african composers"
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Walker-Hill, Helen. From spirituals to symphonies: African-American women composers and their music. Westport, CT: Greenwood Press, 2003.
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Makeba, Miriam. Myriam Makeba: Une voix pour l'Afrique. Abidjan: Nouvelles éditions africaines, 1988.
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Makeba, Miriam. Makeba: The Miriam Makeba story. Johannesburg, South Africa: STE Publishers, 2004.
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Grant, Vaux Charles. The history of Mauritius, or, The Isle of France and the neighbouring islands from their first discovery to the present time composed principally from the papers and memoirs of Baron Grant. New Delhi: Asian Educational Services, 1995.
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Roosenschoon, Hans. Keeping our ears to the ground: Cross-culturalism and the composer in South Africa, "old" and "new" : a paper to be presented at the general assembly of the International Society for Contemporary Music "World Music Days", Warsaw, 15-23 May 1992. [Johannesburg]: SAMRO, 1992.
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Peter, Klatzow, ed. Composers in South Africa today. Cape Town: Oxford University Press, 1987.
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Walker-Hill, Helen. From Spirituals to Symphonies: African-American Women Composers and Their Music. University of Illinois Press, 2007.
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From Spirituals to Symphonies: African-American Women Composers and Their Music. Greenwood Press, 2002.
Find full textBook chapters on the topic "South african composers"
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André, Naomi. "Black Opera across the Atlantic." In Black Opera, 27–54. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0002.
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This chapter provides an overview of the participation of black people in opera in the United States and South Africa. Themes include the practice and legacy of minstrelsy in both countries. For the United States, the focus explores the creation of an American operatic tradition outside Europe and one that features black composers and singers. For South Africa, the focus explores the experiences of Angelo Gobbato who worked in opera through the last decades of apartheid and into the new millennium with integrated casts and Neo Muyanga (Soweto-born composer) who was educated in Europe during the last decades of apartheid and has become a leading voice in the post-apartheid black opera scene. This chapter also discusses black opera singers and the Isango Ensemble.
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Schneider, Marius, and Vanessa Ferguson. "Equatorial Guinea." In Enforcement of Intellectual Property Rights in Africa. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198837336.003.0019.
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Equatorial Guinea is found in west central Africa. It has an area of 28,000 square kilometres (km) and is composed of a mainland, Río Muni, and small islands including Bioko where the current capital Malabo is located. The mainland Río Muni totals about 93 per cent of the nation’s land area and 75–80 per cent of its population. Río Muni is bordered by the Gulf of Guinea, Cameroon in the north, and Gabon in the south and east. The largest city in Equatorial Guinea, Bata, as well as the country’s future planned capital, Oyala, are found on the mainland. In 2016, the population amounted to 1.2 million. The currency used is the Central African franc (CFA). Office hours in the public sector are from 0800 to 1600 from Monday to Friday.
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Perry, Imani. "I’ll Make Me a World." In May We Forever Stand, 1–24. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638607.003.0001.
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This chapter describes the personal history of the author and composer of Lift Every Voice and Sing: James Weldon Johnson and John Rosamond Johnson. It situates the composition of the song in the context of the social and political movements of African Americans in the midst of the development of Jim Crow in the post-Reconstruction South, with a particular focus on Associational Life and the development of formal rituals. It traces how Lift Every Voice and Sing became known as the Negro National Anthem.
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Ngqila, Kholekile Hazel. "Pluralistic Tendencies in Healing Abantu Illness in the Contemporary South Africa." In Handbook of Research on Theoretical Perspectives on Indigenous Knowledge Systems in Developing Countries, 375–94. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0833-5.ch017.
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Ukuhanjwa illness was used as an example to understanding abantu illnesses. With attributional theory ukuhanjwa illness is attributed to spiritual and social causes rather than biomedical causes, whereby causal link is socially constructed between ukuhanjwa illness and entry into the body by familiars. Issues explored included conceptualisation of ukuhanjwa illness. The focus of the chapter is on the reasons for continued pluralistic tendencies in healing regardless of the expectation by the West that people should be focusing on the use of the fast evolving biomedical healing methods. The ethnographic study took place among the Southern Nguni people of OR Tambo District Municipality (ORTDM) in the Eastern Cape, South Africa. Data was collected using qualitative and ethnographic research methods amongst a sample group of 50 participants. The sample was composed of traditional healers, mothers of children who have experienced ukuhanjwa illness, elderly people (male and female), biomedical practitioners and nurses.
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Ngqila, Kholekile Hazel. "Pluralistic Tendencies in Healing Abantu Illness in the Contemporary South Africa." In Data Analytics in Medicine, 986–1005. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1204-3.ch051.
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Ukuhanjwa illness was used as an example to understanding abantu illnesses. With attributional theory ukuhanjwa illness is attributed to spiritual and social causes rather than biomedical causes, whereby causal link is socially constructed between ukuhanjwa illness and entry into the body by familiars. Issues explored included conceptualisation of ukuhanjwa illness. The focus of the chapter is on the reasons for continued pluralistic tendencies in healing regardless of the expectation by the West that people should be focusing on the use of the fast evolving biomedical healing methods. The ethnographic study took place among the Southern Nguni people of OR Tambo District Municipality (ORTDM) in the Eastern Cape, South Africa. Data was collected using qualitative and ethnographic research methods amongst a sample group of 50 participants. The sample was composed of traditional healers, mothers of children who have experienced ukuhanjwa illness, elderly people (male and female), biomedical practitioners and nurses.
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André, Naomi. "Haunted Legacies." In Black Opera, 55–84. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0003.
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This chapter examines the song cycle (also thought of as a monodrama or solo opera) by composer William Bolcom and playwright/librettist Sandra Seaton, From the Diary of Sally Hemings. The chapter includes a discussion of the DNA, kinship, and social controversies over the interracial pairing of Jefferson, a founder of the United States as a nation, and Hemings, his slave and consort. Through an analysis of the compositional genesis of the work, the text, and the music, this chapter also explores what is at stake for thinking about the breakdown of black-white racial categories. Extended references are made to Saartijie Baartman (the South African “Hottentot Venus”) and Edward Ball, the descendent of the Ball plantation who looked up interracial relationships with slaves in his family.
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Bohlman, Philip V. "The Folk Song Project at the Confluence of Music and Nationalism." In Song Loves the Masses. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520234949.003.0004.
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Published in six folios during 1778 and 1779, Herder’s Volkslieder (Folk songs) has been one of the most influential works in modern intellectual history, even though it has never before appeared in English translation. The Volkslieder not only became the first collection of world music—songs came not only from many regions of Europe, but also from Africa, the Mediterranean, and South America—but also served as the source for European composers throughout the nineteenth century. Aesthetics, ethnography, and literary and cultural history converge to transform modern musical thought. Part one of the chapter contains translations from Herder’s own introductions to the songs, and part two contains twenty-four songs that represent the paradigm shift inspired by this monumental work on folk song.
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Lowery, Malinda Maynor. "Introduction." In The Lumbee Indians, 3–12. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646374.003.0001.
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Today, the Lumbees are the largest tribe of American Indians east of the Mississippi. They are the descendants of dozens of tribes in that territory, as well as of free European and enslaved African settlers who lived in what became their core homeland: the low-lying swamplands along the border between North and South Carolina where Lumbee history has unfolded since before the formation of the U.S. Lumbees have insisted on both their kinship with the United States and the value of their difference from other Americans. In addition, being Lumbee has historically been more complicated than identifying with a racial group. This is because tribes are not static societies; they are composed of dynamic networks of kinship and place. Knowledge of kinship—the relationships between different families—and place—the stories told about families in certain locations—is critical to Lumbee identity. The federal government’s refusal to accord the Lumbees federal recognition provides important triggers for Lumbee demands to have their story heard. Sovereignty, however, exists whether a tribe has federal recognition or not, so long as that tribe exercises its right to make and remake its own community and nation through the stories its members tell.
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Jr Fouda Abougou, Benjamin. "Finding Novel Strategies to Overcome the Impact of Malaria Vector Resistance in Limited-Resources Settings. The Case of Cameroon as a Basis for Reflection." In Plasmodium Species and Drug Resistance [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98318.
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Malaria remains one of the most important and deadliest diseases in many countries in Africa, in the Americas, in South-East Asia, in the Eastern Mediterranean and in the Western Pacific regions, with high morbidity and mortality, despite important successes for the control of this disease borne by the vector Anopheles mosquitoes. Malaria elimination relies on different strategies including early diagnosis, improved drug therapies and better health infrastructure, and mainly the use of long-lasting insecticidal nets (LLINs) and indoor residual sprayings (IRS) of insecticide. In Cameroon, a country composed of several ethnic groups, malaria transmission is endemic in some regions, while it is seasonal in others; children and pregnant women are most vulnerable. Progress has been made towards malaria control, considering these specificities, and led to a reduction in both morbidity and mortality, but these accomplishments are under threat, mainly due to the development of resistance to insecticides among mosquitoes, targeting the 4 commonly used insecticide classes. To continue our route towards malaria control and elimination, it is urgent to have more knowledge about resistance mechanisms, in the objective of elaborating new strategies with the involvement of the community; these strategies should take into consideration socio-ecological factors such as the young age of the population, low literacy rate especially among women, population’s beliefs, traditions, and customs. Forest ecosystems with abundant rains, humidity and hot temperature, lower access to water for populations living in rural areas, and poverty level are other factors to consider when elaborating malaria control approaches.
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Targowski, Andrew. "The Future of Civilization." In Information Technology and Societal Development, 395–418. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-004-2.ch017.
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The purpose of this chapter is the investigation whether human civilization has much of a future on the Earth. This investigation is partially based upon research by members of the Polish Academy of Arts and Sciences (Krakow), conducted in 1998-2002. The discoveries and applications of technology which led to our civilization are impressive. Archaeology and history teach us about it. However, in the Age of information-communication technology, it is apparent that technology may no longer merely support civilization but conquer it. In the past, civilization’s progress was slow. Centuries elapsed with no events meaningful to modern questions. Nowadays, civilization faces an impact from technology so tremendous as to disturb the fragile equilibrium between humans and the ecosystem. This raises many questions in respect of the future of civilization and its ability to survive despite many threats. Therefore, it is worthy to reflect on its future and duration. Can or even must it vanish due to the inevitable end of the solar system? In the short run, let us look at current problems of civilization, a very complex system composed of three components (Figure 17-1): • Human entities • Culture • Infrastructure The development of human civilization, as defined in this study1, has been proceeding as long as humans have lived in organized societies in favorable environments. According to accepted estimates, hominids began to live in the Earth about 6-5 million years ago. The development of more skillful mankind began about 200,000- 150,000 years ago, when modern man, Homo sapiens, was living in South-Eastern Africa2. From this location, Homo sapiens began to move to: South-Western Asia (50,000 years ago), Australia (50,000), Europe (40,000), New Guinea (40,000), Siberia (25,000), and North America (12,000) (Burenhult, 2003a). Modern men began to be more social first as hunter-gatherers, then when the Ice Age ended (-10,000) as farmers and town-dwellers (-9,000). Recorded historic civilization is about 6,000 years old (Burenhult, 2003b) and is associated with the rise of Mesopotamian civilization (includes Sumerian and Semitic people) (4,000 B.C.), followed by Egyptian (3,100 B.C.), Indus (2,500 B.C.), Sinic (1,500 B.C.), and so forth. At the beginning of the 21st century, humans (applying electronic information-communication tools based on unlimited memories and on friendly graphic user interfaces that require huge memories and processing speed) improve their symbols processing capability as humans were 60,000 years ago, when language was formed and decided about human socialization and organization through the rapid development of brain/mind as Homo verbalis2. The next leap took place in about 4,000 B.C. when Homo scriba applied INFOCO- 2 (manuscripts). Nowadays, we deal with the information-communication revolution or INFOCO revolution (Homo electronicus), which is the next challenge for civilization. It leads to the faster development of knowledge and wisdom; on the other hand, it may support projects which may first conquer and later destroy civilization. Does civilization, as a short cosmologic instance, have any chance of survival? Let us reflect on this possibility in the next sections.
Conference papers on the topic "South african composers"
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Agyemang, Malena, and Nathan G. Johnson. "Development of Biomass Energy Technologies and Business Models for Southern Africa." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-48033.
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This study evaluates options for biomass pellet formulations and business models to create a sustainable energy solution for cooking energy in Southern Africa. Various agricultural wastes and agro-processing wastes are investigated to meet industry standards on biomass pellet quality. These fuels are obtained from farms and facilities across a geographic area that affects the end-cost of the pellet through transportation costs and the cost of the biomass. The technical performance of the pellet and cost of the pellet are first contrasted and then optimized in unison to develop sustainable energy options that can provide year-round clean energy for household cooking and heating needs. A market was analyzed using wheat, sugarcane and maize crops as components for the biomass pellet fuel source in the Zululand district of South Africa. Using a target moisture content (MCtarget) of 8–10%, a target lower heating value (LHVtarget) greater than 16.0 MJ/kg and a target percent ash (Ashtarget) less than 3%, pellet metrics were optimized. The cost of the crops for the pellets was dependent upon the amount of each biomass used to make up the composition of the pellet. The production demand was then analyzed based on the most current consumer cooking fuel demand within South Africa. The production model was evaluated for three factory sizes; small (1hr/ton), medium (3hr/ton), and large (5hr/ton). Primary shipping cost is based on factory location and has a major impact on the cost of the pellet for the consumer as well as the availability of the supply. Factory location was analyzed by varying the biomass crop distance to the factory. Several business models are evaluated within this study to show which representation results in a high quality pellet of low cost to consumer. The study suggests the pellet be composed of 44.62% sugarcane, 47.49% maize, and 0.82% wheat resulting in a LHV of 16.00 MJ/kg, a MC of 8 (w/w%), and an ash content of 3 (w/w%). The optimal cost of the biomass fuel pellet for the consumer ranged from 172.77US$/ton to 185.03 US$/ton.
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Marais, Johan, and Charles F. Ridolfo. "Challenges and Opportunities in Providing a Digital Protection System for the PBMR." In Fourth International Topical Meeting on High Temperature Reactor Technology. ASMEDC, 2008. http://dx.doi.org/10.1115/htr2008-58173.
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The Republic of South Africa is currently developing the Pebble Bed Modular Reactor (PBMR); an advanced, fourth-generation reactor that incorporates inherent safety features, which require no human intervention and which provide an unprecedented level of nuclear safety. In addition to electrical power generation, the reactor is uniquely suited for a variety of non-traditional nuclear applications including oil sands extraction, desalination, and hydrogen production. A state-of-the-art digital Protection System for the PBMR is currently being developed in conjunction with Westinghouse Electric Company (WEC). The Protection System provides for: • reactor shutdown using two different reactor trip methodologies (dropping of the control rods and insertion of Small Absorber Spheres (SASs) which are composed of boron carbide); • post-event monitoring; and • manual reactor shutdown, which is independent of software-based systems. The reactor shutdown and post-event instrumentation monitoring components of the Protection System are being implemented utilizing the WEC ‘Common Q’ platform, which is comprised of ‘commercially dedicated’ Programmable Logic Controllers (PLCs), colour-graphic Flat Panel Displays (FPDs) with integral touch screens, and high-speed data communication links. High reliability and availability are achieved through component redundancy, continuous automatic self-testing which is run online in a background mode, and implementation of a multi-channel system design which is tolerant to failures. The Protection System is also designed to support periodic surveillance testing through a suite of built-in computer-aided test facilities that are accessible via an FPD interface. These allow various system surveillance requirements to be readily performed in a convenient and systematic manner. This paper discusses the following topics with regard to the PBMR Protection System: development strategy, functional requirements, selection of applicable Codes and Standards, key design specifications, architectural configuration, design and implementation challenges, and unique opportunities that are provided by this type of Protection System.