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Exploring Elements of Musical Style in South African Jazz Pianists by Phuti

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Exploring elements of musical style in South African jazz pianists by Phuti Sepuru 28446063 A thesis submitted in fulfilment of the requirements for the degree Doctorate in Musicology in the School of the Arts: Music Faculty of Humanities University of Pretoria Supervisor: Prof. Clorinda Panebianco Pretoria – December 2019 The financial assistance of the National Institute for the Humanities and Social Sciences, in collaboration with the South African Humanities Deans Association towards this research is hereby acknowledged. Opinions expressed, and conclusions arrived at are those of the author and are not necessarily to be attributed to the NIHSS and SAHUDA. i DECLARATION I declare that this thesis is my own original work and that it has not previously been used or submitted for degree purposes at any other University. References have been listed and acknowledged appropriately. Signature: Date: ii “Jazz, as far as I’m concerned, would be an extension or expression of the self. You know, you get all the information, you learn how to paint a picture, and then you paint a picture of your environment. So to tell your story, you learn your craft, and then tell the story in your own words” (Robbie Jansen, in Devroop & Walton, 2007, p. 55) iii ABSTRACT The purpose of this research was to explore the fundamental elements that constitute, shape and define the thinking and creative processes embodied in musical style of ten prominent South African jazz pianists. The study was qualitative and underpinned by an exploratory research design. Using a collection of case studies, the study used semi-structured interviews to probe participants’ backgrounds, formative influences, and musical style within a South African context. An analysis of the findings resulted in the emergence of three main themes, namely; Developing a musical identity; Negotiating a personal style; and, Finding the South Africanness in jazz. The first main theme outlined the core influences that shaped the participants’ earliest conceptions of musical style, and thus their developing identities. Family members: modelling their parents’ and siblings’ musical interests, immediate environment, interacting with professional jazz musicians, and the socio-political environment, were found to be highly influential. Other factors included; learning which happened through formal, informal, social and self-directed. Listening and musical preferences were also found to be key to the forming identities of the pianists. The second main theme reflected a progression from an ‘outward’ technical understanding of style to an assimilated ‘inner’ one. The first manifested in the descriptions of noticeable elements in jazz music that have been shaped over time, while the second describes ways in which the pianists’ individual social and cultural experiences inform their musical styles. The third theme highlights participants’ challenge in defining a South African style, resulting in a need to conceptualise a term(s) that would better describe the nature of the music. South African works were found to be at the core of acquiring an understanding of the musical styles of South African jazz pianists. External influences within the South African musical style, and idiosyncratic features based on indigenous musical influences were key to the musical identities of South African jazz pianists. Furthermore, understanding the metanarratives that serve as creative inspirations for these compositions is vital. The study concludes that a South African jazz style represents an amalgam of internal and external musical influences, evolving over time. The incorporation of eclectic musical elements from the indigenous ‘musics’ of the various South African ethnic cultures add an inimitably South African articulation and prosody to the jazz language. The unique histories and narratives of South African jazz pianists have resulted in their distinct approach to the jazz style. Keywords: Jazz; Musical style; Musical identity; South African jazz pianists iv ACKNOWLEDGEMENTS To my supervisor, Prof. Clorinda Panebianco, thank you for your unwavering support through the years. I appreciate your constructive criticisms and positive encouragement even when I doubted myself. You continue to be an inspiration to me, and words cannot express the full extent of my gratitude. Prof. Alexander Johnson, thank you for supporting me in this journey and for granting me the time to focus on this research. To the staff of the University of Pretoria’s School of the Arts’ Music division, thank you for the daily encouragement and support. To Dr Andeline dos Santos, thank you for your thorough feedback. I really appreciate all your input. To Madaleen Botha and Dr Gerrit Scheepers, thank you for your willingness to assist and your words of encouragement. To Emmanuel Ndhlovu, thank you for your patience and time dedicated to the editing of this thesis. Mfundo Gwala, thank you for your assistance with the translations. To the phenomenal pianists that agreed to partake in the study and share their unique journeys, THANK YOU. I learned so much through our brief encounters. Our country is richer through your musical contributions. To the NIHSS and the Gauteng regional mentors, the writing workshops, retreats, and opportunities to engage with fellow researchers were invaluable. Penny Moila, Nthabiseng Motsepe-Notyesi, Dorothy van der Westhuizen, Viwe Mkizwana, Setfu Shongwe, Monica Mhangwana, Keenan Meyer, and Mosima Seabi, thank you for constantly being concerned about my well-being and encouraging me when I needed it most. Lufuno Muleya, thank you for always reminding me to be great, expressing your pride in my journey, for making me laugh when I was down, and making me trust the journey. Ndiya mufuna. Sindisiwe Santi, it is done! I can finally say that. Words honestly fail me. Thank you for everything. You always go above and beyond for me. Thank you for your heart, prayers and all the supportive words. Thank you for reminding me to always keep the end in mind. To Mihi-Tuwi Matshingana. Felicia, you have been so critical to this journey, even though you may not realise the extent thereof. Your prayers, constant messages of support, love, positive affirmations, laughs and unwavering friendship have meant the world to me. You deserve everything beautiful. v To my parents, this is for you. I can never sing your praises enough; you are truly God-sent. Thank you for always being there for me through it all, regardless. Thank you for supporting my dreams, attending every performance, and being excellent role models. Thank you for the prayers, endless support, words of encouragement and constantly reminding me of who I am and what I am destined to be. You are both my greatest gifts and I know that you are proud. Kea le rata. vi TABLE OF CONTENTS DECLARATION ................................................................................................................... ii ABSTRACT .......................................................................................................................... iv ACKNOWLEDGEMENTS ................................................................................................... v LIST OF TABLES ................................................................................................................. x LIST OF FIGURES ............................................................................................................... x CHAPTER ONE .................................................................................................................... 1 Introduction ............................................................................................................................ 1 1.1 Background and rationale ............................................................................................... 1 1.2 Aims of the study ............................................................................................................ 4 1.3 Research questions .......................................................................................................... 4 1.4 Methodology ................................................................................................................... 4 1.5 Chapter outline ................................................................................................................ 5 1.6 Conclusion ...................................................................................................................... 5 CHAPTER TWO ................................................................................................................... 7 Literature review .................................................................................................................... 7 2.1 Introduction ..................................................................................................................... 7 2.2 Musical Style .................................................................................................................. 7 2.2.1 Defining Musical Style ..................................................................................................... 7 2.2.2 Redefining the Jazz Style ............................................................................................ 9 2.2.3 South African Jazz as a Musical Hybrid ................................................................... 10 2.2.4 Stylistic Elements in the Works of South African Jazz Musicians ........................... 16 2.3 Musical Identity
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