- Title
- Composition portfolio
- Creator
- Jera, Tinashe Donaldson
- ThesisAdvisor
- Brukman, J.J.
- Subject
- Uncatalogued
- Date
- 2025-04-04
- Type
- Academic theses
- Type
- Master's theses
- Type
- text
- Identifier
- http://hdl.handle.net/10962/479548
- Identifier
- vital:78323
- Description
- Completing this portfolio has been an incredibly enlightening musical journey for me. From the beginning of my composition studies as an undergraduate student, I found myself captivated by a multitude of musical styles, which fostered a desire to compose in various genres and for a range of voices. However, upon embarking on postgraduate studies, it became apparent to me that I yearned to cultivate a distinctly personal compositional voice that resonated with my own artistic sensibilities, one that I, as a composer, could wholeheartedly embrace and call my own. Upon delving into the depths of my culture and embracing my identity as a Zimbabwean classical musician, I came to the realisation of just how profoundly rich and culturally diverse my background and musical heritage truly is. Kofi Agawu (2023) comments that African composers possess “multiple and eclectic heritages.” He explains that these heritages stem from “community-based traditional music (music with the strongest claims to being of pre-European origin […]), modifications of this tradition into neo-traditional forms; the ubiquitous, popular music of Cuban, American and British origins; and […] selected European repertories”. So, along with other African composers who compose in the African art music tradition, my multiple heritages are reflected in my creativity, and this is evident in this portfolio. This portfolio has provided me with a remarkable opportunity to immerse myself in the intricacies of Zimbabwean music, exploring the nuances of its rhythms and dances as practised by our elders. Gerhard Kubik (1994) stated that in an expansive sense, "African music" encompasses "dance" as well, given that the two are inextricably connected facets of the same cultural complex. Studying the dances shown in this portfolio enabled me to develop a deep admiration for my own culture and the aesthetic appeal of our indigenous musical rhythms and dances. The process has also allowed me to embark on a comprehensive study of these elements, meticulously translating them into original musical compositions. Moreover, I have been fortunate enough to engage in meaningful conversations with some of the most noted musicians of Zimbabwean traditional music, something that has afforded me a profound understanding of the intricacies and subtleties that permeate our musical culture. A fundamental aesthetic element of this portfolio is its deep connection to Zimbabwean dance cultures. For example, the rhythmic ideas located in the Zimbabwean Dance Suite are intimately tied to the original dances of Zimbabwe, reflecting a genuine engagement with my cultural heritage, delineated further through the creation of original melodies and harmonies that replicate those located in Indigenous music-making. My music is, thus, imbued with traditional Zimbabwean artistic practices, though they are placed in a different cultural milieu, one where traditional roots are respected while new creative territories are explored, as Zimbabwean cultural elements are synthesised with Western music techniques. The Western aspects of my musical heritage are explored in-depth in the Clarinet Trio, Ndangariro, where the broad ideas of the twentieth century’s modernist tendencies largely located in post-tonalism are featured in my harmonic stance. Here, dissonant constructions with sometimes merciless, rasping dissonances colour the harmonic landscape. This follows the general trend of that era, which is frequently referred to as “the emancipation of dissonance” (Hinton 2010), where chord construction and treatment of dissonances is antithetical to the norms followed through the common-practice period with the boundaries between consonance and dissonance being blurred (Kostka and Santa 2018). Here, my primary influence is that of Arnold Schoenberg (1874-1951), especially his development of twelve-tone serialism, and my reflexive commentary will outline this impact on my music. Further, the piquant sound world frequently associated with Olivier Messiaen (1908-1992) is also apparent in Ndangariro. While the piano part frequently shows the influence of post-tonalism the melodic lines played by the violin and clarinet often (though not always) display the influence of Romanticism, especially Romantic-styled gestures. It is the merging of these two expressive domains that goes towards the emergence of this piece’s uniquely hued sound world. These composers' approaches to modernism and their departure from traditional harmony and chord progressions inspired my approach to exploring new musical soundscapes and conveying deep, meaningful ideas. This engagement with twentieth-century Western music opens up new avenues for expressing complex emotional landscapes and philosophical concepts. In this work, I continued to create my own range of ideas to develop unique chord structures and personalised sonic spaces. This portfolio is a deep, introspective look into my personal journey, mirroring significant life events and the evolution of my musical identity; it not only offers a glimpse into my own soul but also showcases the evolving nature of my own creative expression. At its core, this portfolio expresses life in all its manifestations from joy and happiness to the pain of loss and mourning as experienced through my African heritage. It speaks to the universal experiences of hardship and overcoming such hardship through resilience; therefore, the overarching message is one of hope, which, in this case, is expressed through musical and artistic innovation as African and Western elements are merged in musical composition. It is this blending which lies at the core of Tenzi Tinzwireyi Tsitsi, a setting of the Kyrie Eleison using Zimbabwean musical and linguistic features merged with Western choralism.
- Description
- Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2025
- Format
- computer, online resource, application/pdf, 1 online resource (181 pages), pdf
- Publisher
- Rhodes University, Faculty of Humanities, Music and Musicology
- Language
- English
- Rights
- Jera, Tinashe Donaldson
- Rights
- Use of this resource is governed by the terms and conditions of the Creative Commons "Attribution-NonCommercial-ShareAlike" License (http://creativecommons.org/licenses/by-nc-sa/2.0/)
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| Thumbnail | File | Description | Size | Format | |||
|---|---|---|---|---|---|---|---|
| View Details Download | SOURCE1 | JERA-MMUS-TR25-52.pdf | 31 MB | Adobe Acrobat PDF | View Details Download |