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Authorship and Ownership of Ushaka Kasenzangakhona AUTHORSHIP AND OWNERSHIP OF USHAKA KASENZANGAKHONA by Philip Antoni Schonken Thesis presented in partial fulfilment of the requirements for the degree of Master of Music (Composition) in the Faculty of Art and Social Sciences at Stellenbosch University Supervisor: Professor Stephanus Jacobus van Zyl Muller March 2013 Stellenbosch University http://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that the reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. 29 October 2012 Copyright © 2013 Stellenbosch University All rights reserved ii Stellenbosch University http://scholar.sun.ac.za Universiteit Stellenbosch Samevatting “AUTHORSHIP AND OWNERSHIP OF USHAKA KASENZANGAKHONA” deur Philip Antoni Schonken Studieleier: Professor Stephanus Jacobus van Zyl Muller UShaka KaSenzangakhona is `n komposisie van sowat sestig minute geskryf deur Mzilikazi Khumalo vir koor, soliste en orkes. Die werk is in 1994 georkestreer deur Christopher James en in 1996 hersien deur Robert Maxym. Die skrywer van die werk se teks is Themba Msimang. Die rasse- en kultuurverskille wat Ushaka se outeurs kenmerk bring binêre binne spel wat sekere eienskappe van die werk se bestaan definieer. Die komposisie se hoof ontwikkelingstrajek (1982-1996) plaas dit binne ‟n ongestadige politieke ruimte in Suid-Afrika se onlangse geskiedenis. Ushaka sukkel om binne hierdie diverse faktore ‟n stem van sy eie te ontdek. Die tesis vestig aandag op hierdie faktore deur ‟n kritiese verkenning te onderneem van twee aspekte van Ushaka se bestaan, naamlik outeurskap en eienaarskap. Dit word behartig met deeglike kwantitatiewe analise van die bladmusiek van die oorspronklike komposisie asook beide orkestrasies. Resultate wat verkry word vanuit die analise word gebruik om gevolgtrekkings te maak gaande die bydraes van elke outeur tot die uiteindelike komposisie. By implikasie kan die bevindinge gebruik word om op nuwe en betekenisvolle wyses aan breër onderwerpe te raak binne die Suid-Afrikaanse veld musikologie. iii Stellenbosch University http://scholar.sun.ac.za Stellenbosch University Abstract AUTHORSHIP AND OWNERSHIP OF USHAKA KASENZANGAKHONA by Philip Antoni Schonken Supervisor: Professor Stephanus Jacobus van Zyl Muller UShaka KaSenzangakhona is a work of about sixty minutes for choir, soloists and orchestra, composed by Mzilikazi Khumalo, orchestrated in 1994 by Christopher James and revised in 1996 by Robert Maxym. The composition is a setting of a Zulu text by Themba Msimang. The racial and cultural differences between UShaka’s three authors bring binaries into play that define certain aspects of the composition. UShaka’s main developmental trajectory (1982-1996) places it within a volatile political space and time in South Africa‟s recent history. Somewhere, hanging in an unstable balance between these diverse factors, exists a musical work that is struggling to find a voice. This thesis highlights these factors by critically evaluating two aspects of UShaka’s existence, namely its authorship and ownership under Khumalo, James and Maxym. This is achieved through thorough quantitative score analyses of the original composition and its two orchestrations. Results of the analyses are used to draw conclusions about the contributions of each of its three authors to the final musical product. By implication of the findings produced by the analyses, broader themes within South African musicology are touched on and highlighted in new and meaningful ways. iv Stellenbosch University http://scholar.sun.ac.za Acknowledgements Professor Stephanus Muller, for his limitless capacity to educate and inspire with kind and honest words. Professor Hans Roosenschoon, for a wealth of knowledge and insight in all aspects musical. Stellenbosch University and in particular the Harry Crossley Foundation, for generous institutional and financial support throughout my tertiary studies. To Santie de Jongh and the Documentation Centre for Music in Stellenbosch (DOMUS), for making available material from the James Collection without which the completion of this thesis would have been a substantially more challenging endeavour. To Marjory James, Robert Maxym and Mzilikazi Khumalo, who kindly made available the use of extracts from UShaka KaSenzangakhona in this thesis. To my dearest Mom and Dad, who with patience, love and respect have always supported me and carried me through easy and hard times. To my friend Francois Bekker, for hours of support, many cups of coffee, and inspiration through example. And lastly to God, To whom I owe my life and all I have in this world. v Stellenbosch University http://scholar.sun.ac.za Table of Contents List of Figures ................................................................................................................................................. viii List of Tables ...................................................................................................................................................... x Introduction ..................................................................................................................................................... 2 UShaka KaSenzangakhona .......................................................................................................................... 8 An Overview ................................................................................................................................................... 8 James’s UShaka ............................................................................................................................................. 14 Introduction .................................................................................................................................................. 14 Observations ................................................................................................................................................. 16 The Analysis .................................................................................................................................................. 22 Notes on the analysis .............................................................................................................................. 23 Methodology ............................................................................................................................................ 24 Inclusion and Exclusion criteria ............................................................................................................ 27 Findings ..................................................................................................................................................... 31 Maxym’s UShaka .......................................................................................................................................... 33 Introduction .................................................................................................................................................. 33 Observations ................................................................................................................................................. 36 The Analysis .................................................................................................................................................. 38 Methodology ............................................................................................................................................ 42 Findings ..................................................................................................................................................... 45 Other Observations ..................................................................................................................................... 50 vi Stellenbosch University http://scholar.sun.ac.za Khumalo’s UShaka ....................................................................................................................................... 55 Introduction .................................................................................................................................................. 55 Observations ................................................................................................................................................. 56 A work in crisis ............................................................................................................................................. 59 Conclusion ...................................................................................................................................................... 63 Bibliography ................................................................................................................................................... 65 Addendum A: Manifestations of UShaka 1982-2009 ................................................................................. 69 Addendum B: Results of Quantitative Analysis of UShaka, James orchestration ................................. 71 Part one ........................................................................................................................................................
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