DOCSLIB.ORG

Iscrizione-Workshop-2-Dicembre

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Iscrizione-Workshop-2-Dicembre | OUT OF SOUTH AFRICA | workshop di ritmo, percussioni, musica e voce facilitati dal maestro sudafricano Kholeho Mosala per TUTTI, proprio TUTTI, grandi e piccini. ____________________________________________________________________________ I partecipanti saranno suddivisi in tre gruppi e due fasce d’età, adulti & bambini: # Livello 1: per chi non ha uno strumento percussivo né esperienza # Livello 2: per chi HA provato o HA il proprio strumento perscussivo e un po’ di esperienza # Livello 3: per chi ha esperienza e desidera approfondire ______________________________________________________________________________ | OFFERTA lancio Workshop € 5 persona domenica 2 dicembre, ore 17-19h30 | se avete un qualsiasi strumento percussivo (anche non professionale) portatelo, altrimenti vi daremo uno strumento improvvisato. Per tutti adulti e bambini. ______________________________________________________________________________ Nei miei workshop vi propongo la musica in modo naturale: ascoltare, riprodurre, associare il “suono – come facciamo in Africa. Nei cicli di lezioni vi condurrò a capire il concetto fondamentale di poliritmo africano, e a produrlo in modo olistico coinvolgendo strumenti, voce e movimento. Specialmente per i bambini le lezioni includono story-telling (affabulazione) proposte come racconto collettivo espresso in musica. Il mio ruolo è sempre quello del facilitatore, piuttosto che dell’insegnante. ______________________________________________________________________________ ” 2013 Da gennaio CICLI di 5 /10 lezioni (2 ore ciascuna) €10 euro x lezione (gruppi di 10 studenti circa) ______________________________________________________________________________ | Circolo Culturale La Rusnenta | Via Andreis, 11 | Torino | Balôn | | @ ___________________________________________________________________________ [email protected] | Fb La Rusnenta | larusnenta.com | T 011 4362980 MODULO DI ISCRIZIONE | workshop Domenica 2 Dicembre | partecipante * nome ________________________ cognome _____________________ telefono ______________________ @ ___________________________ * se regali l’iscrizione ad un amico inserisci qui i suoi dati quota di partecipazione € 5 + € 3 °tesseramento annaule per associazione al circolo I miei workshop nascono prima dalla mia esperienza di vita, e poi dalla mia esperienza professiona- “ le. Infatti, la mia formazione è avvenuta attraverso le travagliate vicende del mio Paese, il Sudafrica, e proprio queste mi hanno spinto a scegliere la musica come la mia magistra vitae. I miei workshop nascono da anni di esperienza di insegnamento nei complessi contesti sudafricani (studenti svan- taggiati e privi di mezzi, non esposti all’educazione musicale, tensioni etniche) e il suo cardine è il team building – cioé lo spirito di squadra, il fare squadra, collaborare – quindi la musica diventa veicolo per creare armonia nelle relazioni umane. Storicamente nel mio Paese la tradizione del canto corale prevalse, come una delle poche attività tradizionalmente praticata dai sudafricani neri nelle scuole e nelle chiese. Anche la grande Miriam Makeba cominciò la sua formidabile carriera in un coro. Oggi da questi cori continuano a emergere grandi cantanti pop, gospel e lirici (Brenda Fassie, Yvonne Chaka Chaka, Rebecca Malope, Pumeza Matshikiza, Kaiser Nkosi). Nel Sudafrica post aparthied la musica diventa terreno di coe- sione tra le varie comunità, uno spazio di incontro e un vettore di integrazione in una società che è multietnica almeno sin dal lontano 1652; nonostante forti suggestioni contemporanee ritmo, voce e movimento rimangono elementi essenziali e inscindibili. A livello 1 la mia proposta non richiede conoscenza formale della musica, né strumenti musicali veri e propri e dà rilievo alla voce. Infatti il livello 1 esplora i ritmi naturali che tutti “conosciamo” usando, semplici “strumenti percussivi” fatti con materiali di riciclo a zero/basso costo (facili da reperire a da assemblare), voce e movimento, guidando i partecipanti a esprimersi attraverso, appunto, la musica. Ai livelli (2 & 3 successivi vengono introdotti veri propri strumenti, senza tuttavia abbando- nare completamente gli strumenti creati da noi. Sono un artista sudafricano, trasferitomi in Italia nel maggio 2011. Suono, compongo e racconto le mie storie (story telling) attraverso una World Music che affonda le radici nella mia cultura. Ho espe- rienza di team building (laboratori per creare spirito di squadra) e nell’insegnamento sia direttamen- te presso scuole che nell’ambito di progetti di solidarietà sponsorizzati da Onlus. Infatti, ho contribuito a creare, e sono tuttora presidente dell’associazione sudafricana Ndyza Mzan- tsi (Voliamo a Sud), che ha promosso un progetto di scambio culturale prima e durante il Mondiale di Calcio 2010. La musica e l’arte, linguaggi universali capaci di superare le barriere della comunica- zione convenzionale, sono stati un pilastro del progetto. Nato e crescito nella Township di Langa (Cape Town, Sudafrica) dove ho conseguito il diploma di scuola media superiore alla Langa High School, poi iscritto a legge presso l’University of Cape Town, ho interrotto gli studi a causa dei problemi politici del mio Paese durante l'aparthied. Le persecuzione diretta del regime apartheid e il crollo del sistema di istruzione formale mi hanno moti- vato a seguire la mia vocazione artistica, pricipalmente nella musica, e in produzioni teatrali e cine- matografiche come compositore, scrittore musicista e attore. Nel mio percorso di conoscenza ho viaggiato nel mio Paese, nei Paesi limitrofi e in Europa facendo concerti e laboratori. Durante l’apartheid ho insegnato marimba e percussioni all'Università di Am- sterdam in Olanda. A Johannesburg ho inciso album come session musician con artisti prominenti e ne ho prodotti due con la mia musica originale – Marimba Mosala e Ke thabile. In Italia ho esordito nel 2005 con il concerto Kholeho Mosala per Nelson Mandela, Estate Fiesolana, nell'ambito della rassegna "Maggio Fiorentino" diretta da Zubin Metha. Prima di approdare in Italia, per circa 10 anni vi trascorso dei brevi periodi per sperimentare collabo- razioni con musicisti locali, che continuo a coltivare. Percussioni, marimba, sassofonono e voce – parole in xhosa, la lingua di Nelson Mandela, e in sotho, un’altra delle 11 lingue che si parlano in Sudafrica, e in inglese – sono gli strumenti con cui canto la mia Africa, mescolando suoni dagli echi antichi del mio Paese a quelli contemporani. ” .
Load more

Recommended publications
  • Part 2 DEPARTMENT of ARTS and CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 Performance Information Arts & Culture 30
    29 Part 2 DEPARTMENT OF ARTS AND CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 Performance Information Arts & Culture 30 DEPARTMENT OF ARTS AND CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 2.1 REPORT OF THE AUDITOR-GENERAL ON Development, protection, preservation and promotion of arts, culture PREDETERMINED OBJECTIVES and heritage The Social Cohesion Programme The audit conclusion on the performance against predetermined objectives is included in the report to management, with findings being reported under the It remains our task to reconstruct our fractured and divided past to a more socially Predetermined Objectives heading in the Report on other legal and regulatory and economically inclusive society that is proud of all its cultural expressions. This requirements section of the Auditor-General’s report. entails, among other things, mobilising people to act together to enable the birth Refer to page 96 of the Report of the Auditor-General, published as Part Five: of a new culture and create new forms of engagement towards greater unity. Financial Information Following the successful Social Cohesion Summit held in 2012, at which a 12-point declaration was endorsed and adopted, the Department developed and continues 2.2 OVERVIEW OF DEPARTMENTAL PERFORMANCE to implement a social cohesion programme that includes initiatives such as community conversations, social cohesion summits and social cohesion advocates. The Department of Arts and Culture is forging ahead with the agenda of In the period under review 30 community conversations were held in different parts “transforming society and uniting the country” as directed by the National of the country. The conversations are part of the ongoing national dialogues that Development Plan.
    [Show full text]
  • Department of Arts and Culture Annual Report 2014/2015
    Annual Report 2014/2015 arts & culture Department: Arts and Culture REPUBLIC OF SOUTH AFRICA 1 DEPARTMENT OF ARTS AND CULTURE | ANNUAL REPORT | Budget Vote 14 | 2014-2015 PART ONE: GENERAL INFORMATION PART THREE: HUMAN RESOURCE 1.1 Departmental General Information 4 MANAGEMENT 3.1 Introduction 48 1.2 List of Abbreviations/Acronyms 5 3.2 Human Resource Oversight Statistics 48 1.3 List of Figures 6 1.4 Foreword by the Minister 7 PART FOUR: GOVERNANCE 1.5 Statement by the Deputy Minister 9 4.1 Introduction 84 1.6 Report of the Accounting Officer 11 4.2 Risk Management 84 1.7 Statement of Responsibility for Performance 21 4.3 Fraud and Corruption 84 information 4.4 Minimising Conflict of Interest 85 1.8 Strategic Overview 22 4.5 Code of Conduct 85 1.9 Legislative and other Mandates 23 4.6 Health, Safety and Environmental Issues 86 1.10 Organisational Structure 25 4.7 Internal Audit and Audit Committees 87 1.11 Public Entities Reporting to the Minister 26 4.8 Report of the Audit Committee 89 PART TWO: PERFORMANCE INFORMATION PART FIVE: FINANCIAL INFORMATION 2.1 Report of the Auditor-General on Predetermined 30 Objectives 5.1 Accounting Officers Statement of Responsibility for 95 the year ended 31 March 2015 2.2 Overview of Departmental Performance 30 5.2 Report of the Auditor-General 95 2.3 Detailed Programme - Specific Performance 43 Information 5.3 Annual Financial Statements 100 2.4 Service Delivery Improvement Plan 43 PART SIX: ANNEXURES 2.5 Key Policy Developments and Legislative Changes 44 6.1 Annexure A: Pre-determined Objectives 174
    [Show full text]
  • University of Zululand Master of Music
    UNIVERSITY OF ZULULAND INDIGENOUS FEATURES INHERENT IN AFRICAN POPULAR MUSIC OF SOUTH AFRICA A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF MUSIC in the department of Music at the University of Zululand by THULASIZWE NKABINDE DECEMBER 1997 INDIGENOUS FEATURES INHERENT IN POPULAR MUSIC OF SOUTH AFRICA SUPERVISOR: PROF MK XULU DECLARATION The whole of this work is a product of my original thought and research. Where the contrary is found that willl always be acknowledged in full. THULASIZWE NKABINDE ACKNOWLEDGMENTS I would like to express my gratitude to Professor Musa ~IU for his patience, advice and guidance, without which this project would have been all the more difficult. My deepest appreciate goes to my father, Mr. Gibson Siyabonga Nkabinde, my wife Beauty and all my children, Khayelihle, Phelelani and Banele for all their support and encouragement, and to Ms Brenda Trimmel for her endless hours of typing and perfectionist care in the format of this project. I would also like to thank all those people who, in one way or another, made this project reach completion. They are: Professor Joseph Bhekizizwe Shabalala of the Ladysmith Black Mambazo, Marks Mankwane of the Makgona Tsohle Band, Mahlathini and the Mahotella Queens, Yvonne Chaka Chaka, Simon Buthelezi, Bongani Hlatshwayo, Print and Electronic Media, the entire SABC staff and the SABC Choristers, not forgetting the enormous support from the audience, the music lovers. DEDICATION This thesis is dedicated to my late mother Mrs Thembakuye Nkabinde who gave me all the support to pursue my career. ABSTRACT The central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms.
    [Show full text]
  • Collins Chabane
    TRIBUTE EDITION May 2010 New Copyright Laws Owen Dean & others explain Kippie Moeketsi Remembered Nkosi sikelel’ iAfrika Unleashing the Power of Song Collins Chabane His Musical Journey Message from the CEO to ensure that the juristic form of simply: we propose a separate law companies limited by guarantee, an that is designed, from start to finish, to old but important form of a not-for- protect traditional knowledge. profit public company, is appropriately Furthermore, it is our contention that translated and/or accommodated in copyright legislation is fast becoming the new Companies Act. The effect of a “suitcase” of things that are loosely not having that done would have been related but are not necessarily a complete paralysis of entities such as coherent. Needless to say, that this kind eadership as a concept is SAMRO in that they would not have a of approach is dangerous in that the one of the most debated and legal mechanism to distribute income law, by its nature, has to be interpreted probably one of the most by way of royalties and other forms to as a whole and not as a conglomeration written-about subjects. Since their members. That would have gone Ltimewis for that reason that we have of stand-alone concepts and principles. to the heart of collective administration Forcing the protection of traditional dedicated this issue of SAMRO Notes as we know it. to celebrate the leadership success of knowledge into the existing copyright one of our own, the Minister in the Other examples of such active legislation, disjointed as it already is, is Presidency, Collins Chabane.
    [Show full text]
  • Tshwane Update Edition 5.Cdr
    TSHWANEYour paper CITYCITY OF OF TSHW TSHWANEANE 15-26 August 2011 "we"we are the same" UPDATE R500 m Nestlé project CITY PAYS HOMAGE TSHWANE ENHANCES to create 350 jobs TO ORDINARY WOMEN’S FOOTBALL P3 STRUGGLE HEROINES P6 P12 SPEAKER REACHES OUT Councillor Morakane Mosupyoe is a committed activist for women empowerment, a hard TO COMMUNITIES worker, and a resilient but passionate woman. The City's first female Speaker of Council, Cllr Morakane Mosupyoe, is passionate about Her political history goes back to public participation and regards it as a cornerstone of democracy and a vehicle to instil a her student days – the days of the South African National Civic culture of good governance at local government level. Organisation (Sanco). Phalane Motale “It was in the 80s and 90s while I was a Sanco activist under the The newly elected Speaker took her participation and petitions.” chairmanship of Dr Mandla seat for the first time during the She acknowledged that there was a Mazizi that I got involved in the Council meeting on 26 May when backlog in petitions to be attended organisation's health desk in Ga- she had to officiate at the election to. Rankuwa together with the late and swearing in of Tshwane's “The backlog is proof that we did Miss Matlhodi Bokaba. Executive Mayor, Cllr Kgosientso not communicate enough and the “We changed the lives of people Ramokgopa, and the new Chief lacking capacity added to a flood of including the elderly in various Whip, Cllr Jabu Mabona. petitions to Council,” she added. ways.
    [Show full text]
  • Soweto Gospel Choir Sunday, November 11, 2018 4:00 Pm
    Soweto Gospel Choir Sunday, November 11, 2018 4:00 pm Photo: Gas Photographic 2018/2019 SEASON Great Artists. Great Audiences. Hancher Performances. SOWETO GOSPEL CHOIR Sunday, November 11, 2018, at 4:00 pm Hancher Auditorium, The University of Iowa CHOIR MANAGEMENT MILTON NDLAKUSE MUSICAL DIRECTOR VINCENT JIYANE CHOIR MASTER CHOIR MEMBERS MIRRIAM CHAPOLE MLUNGISELENI JONES GEORGE KAUDI THEMBISA KHUWAYO SIBONGILE MAKGATHE VICTOR MAKHATHINI GUGU MBONGWA SIYABOLELA MKEFA SEMANGELE MONGATANE ORIGINAL MSIMANGO HLENGIWE MSOMI MASERAME NDINDWA SIPHO NGCAMU ZANELE NGCAMU JEFFERY NZUZA LINDA SAMBO PHELLO SEJAKE PORTIA SKOSANA TOURING CREW MIKKI LIPSOM COMPANY MANAGER NATALIE ROWANS STAGE MANAGER ANDREW RIDE TOURING LIGHTING DESIGNER/OPERATOR LEON JUNE JR TOURING AUDIO DESIGNER/OPERATOR PRODUCERS ANDREW KAY INTERNATIONAL PRODUCER MARGOT TEELE & TONI RUDOV ASSOCIATE PRODUCERS sowetogospelchoir.com Exclusive North American Representation: IMG Artists 7 West 54th Street New York, NY 10019 Phone: 212-994-3500, Fax: 212-994-3550 imgartists.com 3 Photo: Lorenzo Di Nozzi Di Lorenzo Photo: EVENT SPONSORS ACT NORMA AND DAVID CARLSON TOM ROCKLIN AND BARBARA MCFADDEN DEREK AND PAMELA WILLARD HANCHER'S 2018/2019 SEASON IS DEDICATED TO THE MEMORY OF DICK AND MARY JO STANLEY 4 ABOUT THE ARTISTS The spectacular and colorful two-time Grammy Award-winning Soweto Gospel Photo: Lorenzo Di Nozzi Di Lorenzo Photo: Choir return to North America with a special concert celebrating the 100th anniversary of the birth of the father of their rainbow nation, Nelson Mandela. Hailing from the town of Soweto (South West Township), the birthplace of South Africa’s democratic movement's struggle for freedom, Soweto Gospel Choir are a multi-Grammy Award-winning ensemble who have thrilled audiences around the world with their stunning blend of African gospel, freedom songs, and international classics.
    [Show full text]
  • The Impact of Class and Race on the Cultural Preferences of Youth in Cape Town and Belo Horizonte
    New Distinctions: The Impact of Class and Race on the Cultural Preferences of Youth in Cape Town and Belo Horizonte Jan Schenk Thesis Presented for the Degree of DOCTOR OF PHILOSOPHY University of Cape Town in the Department of Sociology UNIVERSITY OF CAPE TOWN February 2015 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town Abstract Sociological treatments of the reproduction of social inequality in South Africa largely focus on its historical, political and economical aspects while references to popular culture are commonly used to describe differences, often in combination with racial discourse, rather than explain them. As a result much of South African cultural sociology, especially with regards to youth cul- ture, is entailed in in-depth ethnographic descriptions of particular subcultures. Less common is scholarly work dealing with the role of taste and cultural preferences in the reconfiguration of common perceptions of ‘otherness’, both in class and race terms. This dissertation shifts the focus towards the structural aspects of popular culture and, particu- larly, youth culture. First, inspired by Bourdieu’s work on distinction, it explores the segregating potential of contemporary youth culture in South Africa, especially where class and race con- notations meet. It then follows this thread of adapting Bourdieu’s work to contemporary South African youth by identifying the media as a crucial factor alongside family and school for the pre- servation of racialised class characteristics.
    [Show full text]
  • From Place to Placelessness: Malawian Musicians, Commercial Music, and Social Worlds in Southern Africa by Richard Michael Deja
    FROM PLACE TO PLACELESSNESS: MALAWIAN MUSICIANS, COMMERCIAL MUSIC, AND SOCIAL WORLDS IN SOUTHERN AFRICA BY RICHARD MICHAEL DEJA DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Donna Buchanan, Chair Professor Emeritus Thomas Turino, Director of Research Associate Professor Gabriel Solis Associate Professor Teresa Barnes ABSTRACT This dissertation examines how social belonging and community ties among Malawians and other individuals in southern Africa articulate with multiple geographic and social scales. As an ethnographic study focusing on musicians, this work demonstrates how musical sounds and practices are integrated into the construction of individual and group subjectivities. Using musical practices as tangible references to various social worlds among specific individuals, this study illustrates the complex multiplicity of Malawian subjectivities and identities. In conjunction with a substantial literature, this study is also intended as a corrective to social analyses that are overly binary in scope: global-local, African-Western, Cosmopolitan-non- Cosmopolitan, modern-traditional. ii ACKNOWLEDGEMENTS I am grateful for the research support of the Fulbright-Hays Doctoral Dissertation Research Abroad fellowship and the Group Projects Abroad program. I would like to express the deepest gratitude to my ever-growing extended family,
    [Show full text]
  • The Influences of Christianity and Commerce on the Culture of Popular Gospel Music in Post-Apartheid South Africa
    The influences of Christianity and commerce on the culture of popular Gospel music in post-apartheid South Africa. Sipho Sikhonzi Malembe Submitted in fulfillment of the requirements of the degree Doctor of Philosophy, at the College of Humanities, School of Arts, University of KwaZulu-Natal. Supervisors: Dr. Christopher Cockburn and Dr. Kathryn Olsen 2017 i. Declaration: I declare that this dissertation is my own work, and that all sources of references and citations that are not of my own have been duly acknowledged. It is being submitted in fulfillment of the degree Doctor of Philosophy at the University of KwaZulu-Natal, and has not been submitted before for any degree or examination in any other University. ______________________ 2017 ____ Sipho Sikhonzi Malembe Submission Year ii iii. Acknowledgements: I would like to thank my supervisors Dr. Christopher Cockburn and Dr. Kathryn Olsen for their guidance that has seen me through this journey. I appreciate Professor Christopher Ballantine for inspiring me to do this doctoral study and for his guidance in its preliminary stages. This research would not have been a success without the selfless contributions of various respondents and interviewees who spared me their precious time and allowed me into their personal spaces. I would like to appreciate all these men and women, whose knowledge of, and experience in, the music industry and Christianity added much value into this work. I also wish to thank everyone whose artistry and ministry has been used herein as a research subject matter. During the course of this study, one of the great Gospel music icon, Sifiso Ncwane passed away, having contributed selflessly into this study.
    [Show full text]
  • Music SA Jazz Article
    The Music of The People: Africans in South Africa and their Musical Sound Systems The indestructible sounds of Soweto Mbaqanga Mbube groups doing their Step( Abdulah Ibrahim, a South African Jazz pianist Dark City Sisters' Mahotella Queens; Dark City Sisters; Mthembu Queens Ladysmith Black Mambazo Brenda Fasie; Rebecca Malope; Yvonne Chaka Chaka; Mahotella Queens Mbube Group in full action. some other groups were Mtwalume Young Ages, Mkhizwane Home Stars and Jabula Home Defenders Sibongile Khumalo; Brenda Fassie; Letta Mbulu; Mirriam Makeba Dollar Brand released one of the greatest hits called Mannenberg Letta Mbulu's "Free Soul" produced in 1968 whilst she was in exile overseas Mirriam Makeba in concert Caiphus Semenya; Winston Manunku Ngozi; Jonas Gwangwa; Phillip Tabane Dollar Brand(Abdul Ibrahim); Hugh Cape Colored getting ready for the Minstrel Masekela, Jonas Gwangwa and Caiphus Carnival and Brass Band Semenya in The Union of South Africa; Mike Makhalemele; Phillip Tabane A Short History Of Townships Bands, Artists and Music The music of the Townships as a genre was originated in the 1900s and is characterized by its musicians, who were often urban Township residents during the the Apartheid era in south Africa. The music of the Townships was created because of the presence of segregation during the time of segregation, and the musicians in the Townships created the music in response to the environment. The music of the Townships in South Africa began with the migrant laborers, who lived in area which were labor reserve and dormitories. These poorly built houses which the African occupants had to rent, were built by Apartheid for its lower classes Africans.
    [Show full text]
  • Nordic SAMSPEL Dyslexia As a Musical Problem Kai Karma
    Nordic SAMSPEL Dyslexia as a musical problem Kai Karma – [email protected] The Sibelius Academy, Finland: It has been long known that musical abilites and linguistic abilities are correlated. This is especially evident in language impairments, like dyslexia. Persons with low musical ability often also have problems in reading and writing, and musical exercises often help in training linguistic skills (Hanshumaker 1980). The closer nature of this relationship is not clear, however. This is so partly because both musical aptitude and dyslexia are unclear constructs as such and the mechanisms operating in them are partly unknown or not agreed upon. It is thus pertinent to first briefly describe both constructs to form a basis for later discussion. Musical aptitude Hardly any systematic and comprehensive theories about musical ability exist. Different writers emphasize different characteristics assumed to be parts of musical aptitude or perception; different tests and test items are constructed to measure the hypothesized aspects of the construct. The emphasis may be on the cognitive or on the emotional sides of musical perception as well as on more atomistic or holistic ways of hearing. The atomistic way of thinking concentrates on a person’s ability to hear the elemental characteristics of sound. This may lead, for instance, to tests where the abilities to hear small differences in pitch, intensity, duration and timbre are measured. The holistic approach stresses the importance of bigger wholes in music; these are often seen as essential from the point of view of the meaning or emotion in music. The atomistic approach often ignores the structural aspects of music while the holistic approach often uses subjective and culture-dependent structures, such as samples from the music of one culture.
    [Show full text]
  • Beyond Memories Text Final LS.Indd
    BEYOND MEMORY RECORDING THE HISTORY, MOMENTS AND MEMORIES OF SOUTH AFRICAN MUSIC From the diary of Max Mojapelo Edited by Sello Galane AFRICAN MINDS Published in 2008 by African Minds 4 Eccleston Place Somerset West 7130 South Africa www.africanminds.co.za Originated by KAMR – Kgapana African Music Records 12 Rio Grande Street, Westenburg, 1699, Polokwane, SA [email protected] P.O. Box 968 Oliefantsfontein, 1665 Copyright © 2008 by Thamagana Maxwell Mojapelo All rights are reserved. No part of this book may be used or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. ISBN 978-1-920299-28-6 Produced by COMPRESS.dsl www.compressdsl.com Proofread by Karen van Eden Cover images: 2 1 3 1. Chris Ledochowski / South (africanpictures.net) 2. Motlhalefi Mahlabe / South (africanpictures.net) 4 3. Paul Weinberg / South (africanpictures.net) 4. Rodney Barnett / South (africanpictures.net) Great care has been taken to acknowledge all sources used in this book. If, through an inadvertent oversight on our part, any information has been used without acknowledgement thereof, we undertake to correct the matter as soon as it is brought to our attention. Equal care has been taken to spell correctly the names of bands, their members and other people who appear in this book. However, should you note any incorrect spelling(s), please e-mail the publisher on [email protected] and we shall make the necessary corrections to future editions.
    [Show full text]