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2016Augustoariasdissertationfi Contents LIST OF EXAMPLES ........................................................................................................................ III ACKNOWLEDGEMENTS .................................................................................................................. IV ABSTRACT ......................................................................................................................................... VI OPSOMMING ................................................................................................................................... VII CHAPTER 1: INTRODUCTION ........................................................................................................ 1 1.1 Research problem ................................................................................................................................ 1 1.2 Purpose statement ............................................................................................................................ 11 1.3 Research questions ............................................................................................................................ 11 1.4 Research procedures.......................................................................................................................... 12 1.4.1 Research design ......................................................................................................................................... 12 1.4.2 Research approach .................................................................................................................................... 12 1.4.3 Motivating the case ................................................................................................................................... 13 1.4.4 Data collection and analysis ...................................................................................................................... 14 1.4.4.1 Analysis of compositions ............................................................................................................... 14 1.4.4.2 Studying verbal texts ..................................................................................................................... 15 1.4.5 Role of the researcher ............................................................................................................................... 16 1.4.6 Validation strategies .................................................................................................................................. 16 1.4.6.1 Crystallisation ................................................................................................................................ 16 1.4.6.2 Researcher reflexivity .................................................................................................................... 16 1.4.6.3 Peer debriefing .............................................................................................................................. 17 1.5 Ethics statement ................................................................................................................................ 17 1.6 Overview of the report ...................................................................................................................... 17 CHAPTER 2: CONTEXT – A BRIEF OVERVIEW OF SAN MUSIC AND A DISCUSSION OF COMPOSITIONS BY COMPOSERS WHO ADMIT SAN INFLUENCES ..................................... 18 2.1 Introduction ...................................................................................................................................... 18 2.2 A brief overview of San music ............................................................................................................ 19 2.2.1 Introduction ............................................................................................................................................... 19 2.2.2 Characteristics of San music, specifically the music of the !Kung ............................................................. 22 2.2.3 Vocal Polyphony and yodelling (1)............................................................................................................. 24 2.2.4 . Tetratonic pitch material, and the fusion of parts of pitch system to create a more complex system (2 & 3) ................................................................................................................................................................................. 26 2.2.5 The use of musical bows and stamping tubes (4) ...................................................................................... 28 2.2.6 Exogenous musical instruments (5) ........................................................................................................... 29 2.2.7 Rhythmic patterns based on twelve beats, or its multiples (6) ................................................................. 32 2.2.8 Near absence of song texts (7) .................................................................................................................. 32 2.2.9 Presence of dance patterns imitating animals or shivering (8) ................................................................. 33 2.2.10 Conclusion: San musical practice as a context for the work of Pops Mohamed ....................................... 34 2.3 Compositions by other South African composers who admit San influences ......................................... 36 2.3.1 Stefans Grové – Sewe liedere op Boesmanverse....................................................................................... 38 2.3.2 Peter Louis Van Dijk – San Gloria .............................................................................................................. 42 2.3.3 Peter Louis Van Dijk – San Chronicle ......................................................................................................... 46 2 2.3.4 Peter Louis Van Dijk – Horizons ................................................................................................................. 48 2.3.5 Kevin Volans – White Man Sleeps ............................................................................................................. 52 2.3.6 Phillip Miller – The Bushmen Secret .......................................................................................................... 54 2.3.7 Dave Mathews – Eh hee ............................................................................................................................ 55 2.3.8 Cameron Harris – Songs from the land of the broken string ..................................................................... 57 2.3.9 Peter Klatzow – Words from a broken string ............................................................................................ 59 2.3.10 Neil van der Watt – die wind dreun soos 'n ghoera, 'n boesmanmite – eight songs for voice and piano. 59 2.2.11 Three compositions that admit influences of cultures that are related to San cultures ........................... 62 2.2.12 Conclusion: implications of the context construed for discussing Pops Mohamed’s work ....................... 66 CHAPTER 3: CATEGORIES OF TECHNIQUES AND PROCEDURES EMPLOYED BY POPS MOHAMED WHEN ASSIMILATING SAN MUSIC........................................................................ 69 3.1 Introduction ...................................................................................................................................... 69 3.1.1 Gathering the data ..................................................................................................................................... 69 3.1.2 Pops Mohamed’s background as an important aspect of this research .................................................... 69 3.1.3 The ‘Kalahari Series’ ................................................................................................................................... 72 3.1.4 Analyses of the tracks on How far have we come? ................................................................................... 76 3.1.5 How far have we come? Conclusions from this case ................................................................................. 92 3.2 Introduction to Case 3 and 4: Sanscapes, Volumes 1 and 2 ................................................................... 93 3.2 1 Analysis procedures in my research on both Sanscapes ........................................................................... 94 3.2.2 Analyses of tracks on Sanscapes, Volume 1: case 3................................................................................... 94 3.2.3 Analyses of the tracks on Sanscapes, Volume (2006): Case 4 ................................................................. 101 3.2.4 Sanscapes : Techniques of presenting of San elements, integration and appropriation ......................... 108 3.2.5 Comparing the work on Sanscapes with the work on How far have we come? ...................................... 108 CHAPTER 4: DISCUSSION .......................................................................................................... 110 APPROPRIATION OF SAN MUSIC IN THE WORK OF POPS MOHAMED – COMPARISONS AND POINTS OF VIEW ................................................................................................................ 110 4.1 Introduction .................................................................................................................................... 110 4.2 The analytical findings and
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