Vol 33 2001 & Vol 34 2002 ARS NOVA 1 Contents/Inhoud Editorial/Redaksioneel Carol Steyn Two South African women: the lives and careers of the singers Miriam Makeba and Mimi Coertse 5 Jacobus Kloppers Musical rhetoric and other symbols of communication in Bach's organ music 11 Stephanus Muller Contemporary South African interfaces with aspects of Adornian musical thought 30 Christy Smith Aspects of modernism and postmodernism in music 36 Thembela Vokwana `We sing so that they may have life and have it more abundantly': music performance and Aids in South Africa 42 DanieÈ l G Geldenhuys Cross-cultural representation and influences in ballets by Darius Milhaud and Paul Hindemith 48 Conference reports: DanieÈ l G Geldenhuys The Congress of the Catalonian Musicological Society, Solsona, 1997: developments in the teaching of musicology in northeastern Spain 54 George King The Ninth Biennial Conference on Baroque music, Dublin, 2000 57 Carol Steyn The 17th Congress of the International Musicological Society, Leuven 60 Book reviews: Jonathan Drury Composing music with computers 62 George King Playing with History 68 Chronicle: Unisa graduates/Unisa-gegradueerdes 2001/2002 77 Contributors: Style sheet 78 ARSNOVA^Contents/Inhoud 2 Editorial/Redaksioneel Under its current Dean, Professor Mandla were spent on music in cities such as Venice and Makhanya, the former Faculty of Arts at the Rome as well as on art and architecture; imposing University of South Africa took a decision in 2001 buildings and parklands, great literature, to restructure itself. This restructuring process has magnificent paintings and sculptures, as well as resulted in a number of outcomes. In the first splendid music became a priority at the court of instance, the faculty changed its name to `Faculty Louis XIV ± often combined in sumptuous operatic of Humanities and Social Sciences' as from early in productions. If one becomes aware of these 2002. Secondly, a number of smaller departments correspondences one is likely to develop a much within the faculty (in fact, more than half of the better understanding of the cultural, social and existing departments) were amalgamated into political milieu that gave rise to such patronage in several larger ones as from 1 June 2002. the first place. Die nuwe Departement Kunsgeskiedenis, Visuele Nog 'n voorbeeld is die gebied van ikonografie (die Kunste en Musiekwetenskap is op daardie datum bestudering van simbole wat gebruik word in 'n daargestel deur die voormalige Departemente van kunswerk en die betekenis daarvan), waar die Kunsgeskiedenis en Visuele Kunste, en die van student van kunsgeskiedenis voordeel kan trek uit Musiekwetenskap saam te smelt. Die personeel 'n begrip vir die konvensionele gebruik van die van musiekwetenskap het spoedig daarna by hul musiekinstrumente wat dikwels in skilderye kollegas van kunsgeskiedenis en visuele kunste weergegee word, terwyl die student van aangesluit in Gebou 12C in Oak Square op die musiekwetenskap waardevolle insig kan bekom Sunnyside kampus. Die Departement van oor die wyses waarop instrumente in die verlede Kunsgeskiedenis, Visuele Kunste en gebruik is ± en hierdie kennis kan voordelig Musiekwetenskap is nou een van die ses toegepas word op aspekte van die departemente in die Skool vir die Kunste, Kultuur- uitvoeringspraktyk. en Sosiale Wetenskappe. And, perhaps most fruitfully, the exciting new field The reasoning behind the decision to amalgamate of multimedia studies beckons us into a stimulating certain departments is complex. At the heart of the future in which insights from the musical and thinking within the faculty, however, lies a visual (and other) arts can co-operate profitably. fundamental issue: the preservation of each We already offer a BA degree in Multimedia academic discipline. So, despite the new Studies, and there is no doubt that this is an area configuration of art history, visual arts with that is growing rapidly and for which there is huge musicology, each of these disciplines and the sub- potential. disciplines they comprise will continue to be offered, together with all existing degrees and Our new department has already embarked on a certificates. The amalgamation requires no series of strategic planning sessions which are rationalisation of academic staff nor academic expected to help direct its energies in the medium interests. The new arrangement is primarily an and long-term future. The BMus degree, for administrative issue. instance, having already seen radical changes in 2000 when it was reduced from a four-year to a Maar in die breeÈ r sin verteenwoordig die three-year degree, is set for further (albeit less far- samesmelting van hierdie twee wye studiegebiede, reaching) changes in 2003. elk met sy eie sub-dissiplines, 'n opwindende uitdaging aan ons in die nuwe departement. Ons The department is unique in having not one but het reeds begin om te dink aan wyses waarop ons two departmental journals: Ars Nova (for die baie noue skakeling tussen die visuele kunste Musicology) and De Arte (for History of Art and en musiek kan verken. Die geskiedkundige the Visual Arts). We envisage that both journals skakeling gaan ver terug. will continue independently as at present. To mention just a few examples: most of the In this issue of Ars Nova there is some considerable courtly patronage of the arts during the fifteenth to emphasis on music in South Africa, with the eighteenth centuries was bestowed equally on contributions from Carol Steyn (`Two South musicians and poets as well as on artists ± and African women', celebrating the 70th birthdays of usually in the same location. The city of Florence is Miriam Makeba and Mimi Coertse), Stephanus thus not only crucially important in terms of artistic Muller (who looks at `Contemporary South African development in the Renaissance, but also in the interfaces with aspects of Adornian musical realm of music (especially at the end of the thought' and Thembela Vokwana, who breaks new Renaissance). Likewise, enormous sums of money ground with his thought-provoking article on ARSNOVA^Editorial/Redaksioneel 3 music performance and Aids in South Africa. use of rhetoric and how it affects the performance Postmodernist thought is reflected in both articles of his organ music. by Muller and Vokwana as well as in Christy Three overseas conference reports by various Smith's essay `Aspects of modernism and members of the department give some insight into postmodernism in music'. Smith's contribution is the international world of musicology. (It ought to another in a long line of essays printed in Ars Nova be mentioned here that our department also hosted over the years that were originally submitted by the 29th Annual Congress of the Musicological postgraduate students as part of their course work; Society of Southern Africa during August 2002, in this case the essay formed part of the with international visitors Nancy de Vate from `Philosophies and research methodologies of Vienna and Kofi Agawu from Princeton music' paper. University.) The two reviews of books on We are pleased to include in this issue a major computer music and historically informed contribution by Jacobus Kloppers: `Musical performance highlight two particular areas that are rhetoric and other symbols of communication in now available for our undergraduate students. Bach's organ music'. This article first appeared in a Finally, I should like to congratulate those Canadian arts journal during the early 1980s and is graduands of our department whose names are reprinted here by kind permission of the author in recorded in the Chronicle. Studying at Unisa is order to disseminate his thoughts more widely. A never easy, and our BMus students also have to South African now living in Canada, Kloppers has obtain a Licentiate in practical music in addition to been involved in pioneering research into the use their academic studies before the degree is of rhetoric in J S Bach's music since the 1960s conferred. Their perseverance and diligence is to when he completed his PhD in Germany. In 2000 be commended. he was the guest of the Unisa Organ Academy George King (presented by the Department of Musicology) in Pretoria, where he gave a master class on Bach's Pretoria, 2002 ARSNOVA^Editorial/Redaksioneel 4 Two South African women: the lives and careers of the singers Miriam Makeba and Mimi Coertse Carol Steyn black township near Johannesburg in what was to In the year 1932 two girls were born in South become Soweto; she was Senzi Makeba, who became known throughout the world as Miriam Africa, both of whom were destined to become Makeba. The other was born on 12 June 1932 famous singers. They were also destined to lead in from Afrikaans-speaking parents in a middle-class some ways surprisingly similar, yet in other ways, white suburb of Durban and became known as the completely different lives. The similarities as well singer Mimi Coertse. When Mimi was five, her as the differences were mostly the result of the family moved to Germiston, so that Miriam and political situation in South Africa at the time. To a Mimi grew up almost side by side, but in very greater and a lesser extent, both lives were different circumstances. Miriam became `Mama intrinsically affected by the apartheid regime. Their Africa': Mimi became `Onse Mimi'. careers were hampered by the political situation, but in a strange, convoluted way, perhaps also When Miriam was six, her mother was a domestic furthered by the circumstances under which they servant for a white family in Johannesburg and she lived and worked. saw her only when she visited her in the little room at the back of `the big white house' (Makeba 1988: One of the girls was born on 4 March 1932 of a 13), probably much like the house in which Mimi Swazi mother and a Xhosa father in a mud hut in a lived with her family.