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Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) City Research Online Original citation: Schoeman, Ben (2016). The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music. (Unpublished Doctoral thesis, City, University of London) Permanent City Research Online URL: http://openaccess.city.ac.uk/16579/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Piano Works of Stefans Grové (1922-2014): A Study of Stylistic Influences, Technical Elements and Canon Formation in South African Art Music Ben Schoeman Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Musical Arts City, University of London School of Arts and Social Sciences, Department of Music Guildhall School of Music and Drama September 2016 Table of Contents TABLE OF MUSIC EXAMPLES ........................................................................................................................... -
Chris Walton Farbe Bekennen. Schweizer Künstler Und Der Apartheid-Staat1
CORE Metadata, citation and similar papers at core.ac.uk Provided by Berner Fachhochschule: ARBOR Chris Walton Farbe bekennen. Schweizer Künstler und der Apartheid-Staat1 Als der Komponist Heinrich Sutermeister im Jahr 1990 seinen 80. Geburtstag feierte, waren vonseiten der Musikzeitschrift Dissonanz auch einige kritische Töne zu verneh- men, indem sie in einem Artikel von Antje Müller darauf hinwies, dass er seine ersten Erfolge in Nazi-Deutschland erlebt und damals ohne Zögern Kompositionsaufträge aus Deutschland angenommen hätte.2 Einige Leser protestierten, dass man zu einem runden Geburtstag derartige Geschichten in den Blick rückte,3 aber die Wogen wurden bald geglättet. Im Nachhinein jedoch kann man Müllers Artikel als den Anfang vieler Ausein- andersetzungen mit den Tätigkeiten von Schweizer Komponisten während des ›Dritten Reichs‹ verstehen. Inzwischen wissen wir, dass Sutermeister damals gleich handelte wie vieleandereSchweizerKomponisten,diebeinaheausnahmslosihreKontaktezudeut- schen Verlagen, Bühnen und Dirigenten aufrechterhielten. Manche seiner Kollegen agitierten sogar aktiv gegen die Teilnahme von Emigranten am Schweizer Musikleben.4 Diese Debatte um seinen 80. Geburtstag herum war aber nicht die erste Kontroverse über Sutermeisters Kontakte zu einem faschistischen Regime.5 Rund fünfundzwanzig Jahre vorher war er wegen eines Besuchs in Apartheid-Südafrika öffentlich angegriffen worden. Eine nähere Betrachtung dieser Geschichte kann auch Licht auf das Verhalten weiterer Schweizer Künstler werfen, deren Beziehungen zum Apartheid-Staat aus ver- 1 Ich bin den folgenden Personen und Institutionen für ihre Hilfe bei meinen Recherchen sehr dank- bar: Tobias Amslinger, Stefan Dell’Olivo, Raimund Fellinger, Daniel Gloor, Dag Henrichsen, Claudia Jansen van Rensburg, Isa Konrad, Marc Lüdi, Stephanus Muller, Isobel Rycroft, Mareli Stolp, Etienne Viviers, dem Max Frisch-Archiv der eth Zürich,demSuhrkampVerlag,denBaslerAfrikaBiblio- graphien und der Zentralbibliothek Zürich. -
Elvis Presley in the South African Musical Imaginary
54 Acta Academica • 2015 47(2): 54-71 © UV/UFS • ISSN 0587-2405 <http://www.ufs.ac.za/ActaAcademica> Elvis Presley in the South African musical imaginary Harry Sewlall Prof H Sewlall, University of Venda, Private Bag X5050, Thohoyandor 0950; email: [email protected] First submission: 20 June 2014 Acceptance date: 2 June 2015 This paper derives its impetus from a question an elderly American woman once asked me: “Do people in South Africa know Elvis?” “Of course we South Africans know Elvis!” I replied. Or do we, really? Using a historiographic approach, this paper is an attempt to explore how Elvis Presley’s image was first imported into South Africa, especially during the Apartheid era when there was no television and media censorship was a fact of daily life. Additionally, this essay will reflect on the impact of the media – then and now – in creating images, fantasies and illusions in constituting the subjectivity of the Elvis of real life and the Elvis of sound, stage and celluloid in the South African musical imaginary. Harry Sewlall / Elvis Presley in the South African musical imaginary 55 1. Introduction: postmodern technologies and the marketing of Elvis’s image This paper has its genesis in my encounter with an elderly American couple on my first visit to Graceland, the home of Elvis Presley in Memphis, Tennessee in 2002 – the 25th anniversary of the death of the singer. Graceland, incidentally, was opened to the public on June 7, 1982 and on March 27, 2006 was declared a National Historic Landmark (Graceland). According to this online source, Graceland is said to be the second most visited edifice in the USA after the White House. -
Chapter 1: from Autonomy to Heteronomy: a Change of Paradigm in South African Art Music, 1980-2006
Chapter 1: From autonomy to heteronomy: A change of paradigm in South African art music, 1980-2006 Introduction Composition in South Africa has been an increasingly contested artistic and ideological space since the early 1980s. In this dissertation I argue that the demise of apartheid and the rise of democracy resulted in an institutional and aesthetic crisis for the field of composition, embodied in musical terms by a shift away from a Eurocentric paradigm to a cross-cultural one that embraced various ‘African elements’ within a framework of modernism and discourse of accessibility. In this chapter I consider the factors – both internal to the field of art music and those resulting from larger societal changes – that contributed to this artistic and ideological shift. Partly I am concerned with the politics of the field itself: the struggle for power within a highly contested cultural space. More broadly I am interested in the position of the field relative to changes in society at the macro level, in terms of race, class, and economic imperatives. A central question is, to what extent did the restructuring of the field in response to these changed imperatives affect the aesthetic choices of composers? The autonomy of art music during apartheid was challenged by the politicization of the field during the 1980s. The extent and rapidity of social and institutional change, and the new self-consciousness that it evoked in composers previously only concerned with “production for producers” (Bourdieu 1993:15), resulted in a crisis that foreshadowed an aesthetic revolution, or change of paradigm. In this chapter I present the theoretical basis for this claim and explain some of the historical reasons for its emergence. -
The Influence of Early Apartheid Intellectualisation on Twentieth-Century Afrikaans Music Historiography
The Influence of Early Apartheid Intellectualisation on Twentieth-Century Afrikaans Music Historiography by Carina Venter Submitted in partial fulfilment for the degree Masters in Musicology at the Stellenbosch University Department of Music Faculty of Humanities Supervisor: Stephanus Jacobus van Zyl Muller December 2009 The financial assistance of the Department of Labour (DoL) 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 DoL. Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. December 2009 Copyright © 2009 Stellenbosch University All rights reserved 2 Acknowledgements I have come to the end of one road and the beginning of another. As I pause at the juncture of these two roads, I reflect with an immense sense of gratitude on the past two years of my life. So many individuals have played decisive roles, not only in the research that constitutes this thesis, but also in the fostering of my intellectual development, ethical sensibilities and spiritual well-being. In many different ways, each of these individuals and their views matter and have become important to me. While I am sure that the work presented here is imperfect in many ways, the generous contributions of those who accompanied me on this road have made it better than it would have been without them. -
Lunn Helen 2010.Pdf (1.741Mb)
‘Hippies, radicals and the Sounds of Silence’ Cultural Dialectics at two South African Universities 1966-1976 Helen Lunn Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy (PhD) in the School of Music University of Kwa-Zulu Natal, Howard Campus Supervisors: Professor C. Ballantine, Professor C.Burns and Professor J. Hyslop September 2010 DECLARATION Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy , in the Graduate Programme in Department of Music , University of KwaZulu-Natal, South Africa. I declare that this dissertation is my own unaided work. All citations, references and borrowed ideas have been duly acknowledged. I confirm that an external editor was used and that my Supervisor was informed of the identity and details of my editor. It is being submitted for the degree of Doctor of Philosoph in the Faculty of Humanities, Development and Social Science, University of KwaZulu-Natal, South Africa. None of the present work has been submitted previously for any degree or examination in any other University. Helen Lunn _____________________________ Student name 20 September 2010 ______________________________________ Date E. Muller & S.Ellis ______________________________________ Editor Acknowledgement I wish to acknowledge and thank the NRF for the financial support which made this research possible. Abstract This study explores the impact of the counter culture on students at two Anglophone universities in the 1960s and 70s. It focuses on the social and historical differences that predisposed English speaking youth to metropolitan based cultures. It explores this in the context of a lack of identity with the dominant culture of apartheid. -
The Career of South African Soprano Nellie Du Toit, Born 1929
THE CAREER OF SOUTH AFRICAN SOPRANO NELLIE DU TOIT, BORN 1929 ALEXANDRA XENIA SABINA MOSSOLOW Thesis presented in partial fulfillment of the requirements for the degree of Master of Music in the Faculty of Arts, at the University of Stellenbosch Stellenbosch Supervisor: April 2003 Acáma Fick DECLARATION I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature:……………………………… Date:………………………. ABSTRACT Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. -
Chris Walton Farbe Bekennen
Chris Walton Farbe bekennen. Schweizer Künstler und der Apartheid-Staat1 Als der Komponist Heinrich Sutermeister im Jahr 1990 seinen 80. Geburtstag feierte, waren vonseiten der Musikzeitschrift Dissonanz auch einige kritische Töne zu verneh- men, indem sie in einem Artikel von Antje Müller darauf hinwies, dass er seine ersten Erfolge in Nazi-Deutschland erlebt und damals ohne Zögern Kompositionsaufträge aus Deutschland angenommen hätte.2 Einige Leser protestierten, dass man zu einem runden Geburtstag derartige Geschichten in den Blick rückte,3 aber die Wogen wurden bald geglättet. Im Nachhinein jedoch kann man Müllers Artikel als den Anfang vieler Ausein- andersetzungen mit den Tätigkeiten von Schweizer Komponisten während des ›Dritten Reichs‹ verstehen. Inzwischen wissen wir, dass Sutermeister damals gleich handelte wie vieleandereSchweizerKomponisten,diebeinaheausnahmslosihreKontaktezudeut- schen Verlagen, Bühnen und Dirigenten aufrechterhielten. Manche seiner Kollegen agitierten sogar aktiv gegen die Teilnahme von Emigranten am Schweizer Musikleben.4 Diese Debatte um seinen 80. Geburtstag herum war aber nicht die erste Kontroverse über Sutermeisters Kontakte zu einem faschistischen Regime.5 Rund fünfundzwanzig Jahre vorher war er wegen eines Besuchs in Apartheid-Südafrika öffentlich angegriffen worden. Eine nähere Betrachtung dieser Geschichte kann auch Licht auf das Verhalten weiterer Schweizer Künstler werfen, deren Beziehungen zum Apartheid-Staat aus ver- 1 Ich bin den folgenden Personen und Institutionen für ihre Hilfe bei meinen Recherchen sehr dank- bar: Tobias Amslinger, Stefan Dell’Olivo, Raimund Fellinger, Daniel Gloor, Dag Henrichsen, Claudia Jansen van Rensburg, Isa Konrad, Marc Lüdi, Stephanus Muller, Isobel Rycroft, Mareli Stolp, Etienne Viviers, dem Max Frisch-Archiv der eth Zürich,demSuhrkampVerlag,denBaslerAfrikaBiblio- graphien und der Zentralbibliothek Zürich. 2 Siehe Antje Müller: Heinrich Sutermeister, der »Neutrale« im ns-Staat, in: Dissonanz 25 (August 1990), S. -
The Whiteness of South African English Radio Drama
THE WHITENESS OF SOUTH AFRICAN ENGLISH RADIO DRAMA: A POSTCOLONIAL STUDY OF THE RISE, DECLINE AND DEMISE OF A DRAMATIC SUB-GENRE by MARGARET ELAINE LOGAN submitted in fulfilment of the requirements for the degree of MASTER OF ARTS in the subject THEORY OF LITERATURE at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF MARISA KEURIS NOVEMBER 2009 ACKNOWLEDGEMENTS The author would like to express her appreciation to the following for their contribution to the formulation, execution and presentation of this study: Prof. Marisa Keuris, Head of the Department of Afrikaans and Theory of Literature, UNISA, Pretoria, for her encouragement, guidance and support. Her interest in radio drama, expressed at an early stage in my studies at UNISA, has been a source of inspiration for me: Retha Roux of the SABC Sound Archives, Johannesburg, for the provision of invaluable information, and her unfailingly prompt response to my many queries: Former radio drama practitioners, friends and former colleagues, who completed my questionnaires or gave interviews, most notably Nigel Vermaas, Jack Mullen and Bev Peirce, whose valuable insights, opinions and recollections form such an important contribution to this work: Old Time Radio experts and archivists Frans Erasmus and Kevan Mardon, for their readiness to share their expertise, including recordings and magazine articles: Claire Welch, Technical Support Executive of the South African Advertising Foundation, for her helpful assistance, and the provision of radio audience statistics: My husband and children for their patience and encouragement. ii ABSTRACT An exposition of South African English radio drama tracing the historical, cultural and political issues which led to the demise of the art form in 1999, and its resurrection at ICASA’s insistence in 2006. -
Exploring Pluralism and Musical Meaning in the Compositions of Hans Roosenschoon
EXPLORING PLURALISM AND MUSICAL MEANING IN THE COMPOSITIONS OF HANS ROOSENSCHOON by Melissa Jane Fraser Thesis submitted in partial fulfilment of the requirements for the degree of Master of Music at the University of Stellenboscch Department of Music Faculty of Arts and Social Sciences Supervisor: Dr Stephanus Muller December 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 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. Date: November 2012 Copyright © 2013 Stellenbosch University All rights reserved 2 Stellenbosch University http://scholar.sun.ac.za Acknowledgements So many people have helped me on this incredible journey. The road has been tough with many unexpected tribulations, and yet I was never without support. Firstly, I would like to thank my family and friends for their support and unfailing optimism. I am indebted to James and all of the cups of tea, patience, late night suppers and general mirth which helped to keep things in perspective. I would also like to thank my technologically savvy friends, Jozua Loots, Anthoni Schonken and Justin Theunissen who helped me to recreate the music examples for my analyses, as well as their insights to the world of composition. Lastly, I would like to express my gratitude to Professor Hans Roosenschoon, for granting me access to his compositions and sharing information about his work that have led me to an enlightened perspective on his compositions. -
Reshaping Remembrance
Reshaping Remembrance Critical Essays on Afrikaans Places of Memory Reshaping Remembrance Critical Essays on Afrikaans Places of Memory Albert Grundlingh and Siegfried Huigen Editors 2011 Rozenberg Publishers Amsterdam This is Volume 3 in the SAVUSA series Series Editor: Harry Wels, VU University Amsterdam © Albert Grundlingh and Siegfried Huigen, 2011 Editing: Sabine Plantevin Layout: Saskia Stehouwer Cover design: Ton Hartog - Haveka Cover photograph: 'Katrina en ons nov. 1953' [Katrina and us, November 1953]. Photo by J.C. Jansen or Ena Jansen-Myburgh (Ena Jansen's parents), kept in family album 'Photographs' (April 1953 – 11 March 1956; made by P.G. Myburgh and Tibbie Myburgh-Broeksma, grandparents of Ena Jansen). All rights reserved. Save exceptions stated by the law, no part of this publication may be reproduced, stored in a retrieval system of any nature, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, including a complete or partial transcription, without the prior written permission of the publishers, application for which should be addressed to the publishers: Rozenberg Publishers, Lindengracht 302 d+e, 1015 KN Amsterdam, the Netherlands. Tel.: (+) 31(0) 20 625 54 29 Fax: (+) 31 (0) 20 620 33 95 [email protected] www.rozenbergps.com ISBN: 978 90 3610 230 8 Contents 1. Koos Kombuis and Collective Memory 1 Siegfried Huigen and Albert Grundlingh 2. The ‘Volksmoeder’ – A Figurine as Figurehead 5 Elsabé Brink 3. The Location 15 Gerrit Olivier 4. A Coloured Expert’s Coloured 23 Hein Willemse 5. Bantu: From Abantu to Ubuntu 33 Kees van der Waal 6. Thandi, Katrina, Meisie, Maria, ou-Johanna, Christina, ou-Lina, Jane and Cecilia 43 Ena Jansen 7. -
University of Cape Town
Town The copyright of this thesis rests with the University of Cape Town. No quotation from it or information derivedCape from it is to be published without full acknowledgement of theof source. The thesis is to be used for private study or non-commercial research purposes only. University MUSIC FOR CLASSICAL GUITAR BY SOUTH AFRICAN COMPOSERS A historical survey, notes on selected works and a general catalogue Town Avril Kinsey Cape of University A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities, University of Cape Town 2009 Supervisor: Dr Hendrik Hofmeyr ii MUSIC FOR CLASSICAL GUITAR BY SOUTH AFRICAN COMPOSERS A historical survey, notes on selected works and a general catalogue Avril Kinsey (KNSAVR001) Town Cape of A dissertation submitted in fulfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities, University of Cape Town 2009 UniversitySupervisor: Dr Hendrik Hofmeyr COMPULSORY DECLARATION This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work, generated by me as the result of my own original research. Each significant contribution to, and quotation in, this dissertation from the work, or works of other people has been attributed, and has been cited and referenced. Signature: …………………………………….. Date: ………… ii Declaration This work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work, generated by me as the result of my own original research.