Composition portfolio
- Authors: Jera, Tinashe Donaldson
- Date: 2025-04-04
- Subjects: Composition (Music) , Indigenous arts Zimbabwe , Art music , Music Africa History and criticism , Dance music Zimbabwe , Serialism (Music) , Post-tonal music theory
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/479548 , 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. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
- Authors: Jera, Tinashe Donaldson
- Date: 2025-04-04
- Subjects: Composition (Music) , Indigenous arts Zimbabwe , Art music , Music Africa History and criticism , Dance music Zimbabwe , Serialism (Music) , Post-tonal music theory
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/479548 , 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. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
Composition portfolio
- Authors: Musambasi, Richie Andile
- Date: 2024-10-11
- Subjects: Composition (Music) , Ethnoscience , Oral tradition , Traditional knowledge , Marimba , Music Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466094 , vital:76684
- Description: Indigenous Zimbabwean music is complex in its make up and reveals spiritual beliefs, modes of expression, communication patterns, and forms of entertainment. The goal of this composition portfolio is to create pieces that are imbued with the spirit of indigenous Zimbabwean music making as passed on from father to son. The pieces composed include thorough-composed (pre-determined) solo and ensemble frameworks using mostly marimbas based largely on Shona scales and tuning, but also adding mbira, hosho and djembe. All of this is presented within complex structural manipulations that include African and some Western elements of formal music structure. The compositions feature two interlocking parts, known as kushaura and kutsinhira (call and respond), which are traditionally played in a simultaneous manner by two or more musicians. In this portfolio, these voices are spread across a range of players where the interplay between the parts produces complex polyphonic and polyrhythmic musical relationships. The compositions explore modal changes which add excitement, variety and an extra layer of complexity to the pieces. The final artefact is presented as a multimedia submission recorded as a documentary in real time, which is a representation of the embodied making of the music, central to this project. As music was passed down through folk tales, religious gatherings, rock paintings and sources of art, the narration is the key element in expressing that knowledge dissemination is not only text bound, but also embodied and orally shared. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Authors: Musambasi, Richie Andile
- Date: 2024-10-11
- Subjects: Composition (Music) , Ethnoscience , Oral tradition , Traditional knowledge , Marimba , Music Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466094 , vital:76684
- Description: Indigenous Zimbabwean music is complex in its make up and reveals spiritual beliefs, modes of expression, communication patterns, and forms of entertainment. The goal of this composition portfolio is to create pieces that are imbued with the spirit of indigenous Zimbabwean music making as passed on from father to son. The pieces composed include thorough-composed (pre-determined) solo and ensemble frameworks using mostly marimbas based largely on Shona scales and tuning, but also adding mbira, hosho and djembe. All of this is presented within complex structural manipulations that include African and some Western elements of formal music structure. The compositions feature two interlocking parts, known as kushaura and kutsinhira (call and respond), which are traditionally played in a simultaneous manner by two or more musicians. In this portfolio, these voices are spread across a range of players where the interplay between the parts produces complex polyphonic and polyrhythmic musical relationships. The compositions explore modal changes which add excitement, variety and an extra layer of complexity to the pieces. The final artefact is presented as a multimedia submission recorded as a documentary in real time, which is a representation of the embodied making of the music, central to this project. As music was passed down through folk tales, religious gatherings, rock paintings and sources of art, the narration is the key element in expressing that knowledge dissemination is not only text bound, but also embodied and orally shared. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
Singing madness: three performative analyses of the “mad scene” from Lucia di Lammermoor
- Authors: Le Kay, Jo-Nette
- Date: 2023-10-13
- Subjects: Mental illness in music , Bel canto , Donizetti, Gaetano, 1797-1848. Lucia di Lammermoor. Dolce suono , Coloratura soprano , Embellishment (Vocal music) , Performativity
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425377 , vital:72234
- Description: This study describes three internationally recognised sopranos and their presentations of character psychology on stage, during their performances of the famous “mad scene” from Gaetano Donizetti’s opera Lucia di Lammermoor. These sopranos are Joan Sutherland, Mariella Devia, and Lisette Oropesa. I use Margaret Kartomi’s (2014) model of performativity to interpret the “madness” depicted by the three selected sopranos, as based on my interpretations of commercially released audio-visual recordings of their performances in the role of Lucia. Through analysing these performances with the help of Kartomi’s performativity model (which focuses on persona, emotion-and intersubjectivity, and reception), my research determines – with speculative interpretation, and within the reasonable limits of standard psychiatric frameworks – which mental illnesses the sopranos can be understood to have portrayed in their interpretations of the role of Lucia. The study’s goal is not to make an accurate mental health diagnosis of someone’s portrayal of a fictional character. (Considering the fact that one cannot make accurate mental health diagnoses for people who do not exist.) Rather, my focus is to discover which dramatic and possibly musical characteristics are utilised to perform this fictional character and give expressive content to her “madness”. The concept of “madness” and its psychological characterisation during performance thus becomes the framework from which to interpret and understand vocal and acting techniques related to opera in general and to bel canto more specifically. My research findings are that the three performers use facial expressions, different aspects of using the voice through bel canto singing, and body movements as a way of expression. Bel canto characteristics include coloratura embellishments, fioritura, melismas, messa di voce, squillo and chiaroscuro. The sopranos also show musical and dramatic elements in how they respond to the flute or glass harmonica during the ‘Mad Scene’ – which counts as the personae expressed by the performers. These personae are further applied in the emotional and intersubjectivity and the reception aspects of Kartomi’s performativity model. In the emotional and intersubjectivity aspect, the chorus and other characters singing on stage are read as emphasising the reaction of society on the mentally dysfunctional behaviour enacted by the sopranos. In the reception aspect, reviewers are used to filling in for audience members. I read their reactions as contributing factors in forming an understanding of the interpretations of the “mad scene” performed by the three sopranos. My reading of the three interpretations of the “mad scene” goes further by subjectively interpreting how these sopranos approximate different states of mental collapse. These readings include approximations of psychosis such as mania, dissociative personality disorder, and paranoid schizophrenic behaviour. Always, though, these mental health behaviours are identified as approximations to better understand vocal and acting techniques. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Authors: Le Kay, Jo-Nette
- Date: 2023-10-13
- Subjects: Mental illness in music , Bel canto , Donizetti, Gaetano, 1797-1848. Lucia di Lammermoor. Dolce suono , Coloratura soprano , Embellishment (Vocal music) , Performativity
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425377 , vital:72234
- Description: This study describes three internationally recognised sopranos and their presentations of character psychology on stage, during their performances of the famous “mad scene” from Gaetano Donizetti’s opera Lucia di Lammermoor. These sopranos are Joan Sutherland, Mariella Devia, and Lisette Oropesa. I use Margaret Kartomi’s (2014) model of performativity to interpret the “madness” depicted by the three selected sopranos, as based on my interpretations of commercially released audio-visual recordings of their performances in the role of Lucia. Through analysing these performances with the help of Kartomi’s performativity model (which focuses on persona, emotion-and intersubjectivity, and reception), my research determines – with speculative interpretation, and within the reasonable limits of standard psychiatric frameworks – which mental illnesses the sopranos can be understood to have portrayed in their interpretations of the role of Lucia. The study’s goal is not to make an accurate mental health diagnosis of someone’s portrayal of a fictional character. (Considering the fact that one cannot make accurate mental health diagnoses for people who do not exist.) Rather, my focus is to discover which dramatic and possibly musical characteristics are utilised to perform this fictional character and give expressive content to her “madness”. The concept of “madness” and its psychological characterisation during performance thus becomes the framework from which to interpret and understand vocal and acting techniques related to opera in general and to bel canto more specifically. My research findings are that the three performers use facial expressions, different aspects of using the voice through bel canto singing, and body movements as a way of expression. Bel canto characteristics include coloratura embellishments, fioritura, melismas, messa di voce, squillo and chiaroscuro. The sopranos also show musical and dramatic elements in how they respond to the flute or glass harmonica during the ‘Mad Scene’ – which counts as the personae expressed by the performers. These personae are further applied in the emotional and intersubjectivity and the reception aspects of Kartomi’s performativity model. In the emotional and intersubjectivity aspect, the chorus and other characters singing on stage are read as emphasising the reaction of society on the mentally dysfunctional behaviour enacted by the sopranos. In the reception aspect, reviewers are used to filling in for audience members. I read their reactions as contributing factors in forming an understanding of the interpretations of the “mad scene” performed by the three sopranos. My reading of the three interpretations of the “mad scene” goes further by subjectively interpreting how these sopranos approximate different states of mental collapse. These readings include approximations of psychosis such as mania, dissociative personality disorder, and paranoid schizophrenic behaviour. Always, though, these mental health behaviours are identified as approximations to better understand vocal and acting techniques. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
Composition Portfolio
- Authors: Bessey, Warren Gregory
- Date: 2023-04-10
- Subjects: Composition (Music) , Zulu (African people) Songs and music , Music Cross-cultural studies , uMkabayi kaJama , Nandi , Nobility South Africa Zululand History
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/404940 , vital:70123
- Description: Excerpt from Introduction: My interest in the Zulu royal family intensified as I began to read many stories and have lengthy conversations with members of the Zulu royal family and others, including Dr Maxwell Shamase (University of Zululand), about Zulu history. I was struck by the power and prowess of Princess Mkabayi (1750-1843). The elders were said to be speechless when she spoke. According to Shamase, a common Zulu expression which references Mkabayi’s well-known verbal skill is Umuntu ukhuluma kome umlomo, and translates as [like Mkabayi] the speaker speaks clearly and leaves no room for misunderstandings and misinterpretations. I found her to be a brilliant strategist with a servant heart and one whom history had not given due credit, and I was inspired to bring her story to life by setting it to music. I wanted to explore whether or not the events surrounding Mkabayi led to a change of consciousness among the Zulu nation, and I used this as a theme for my symphonic work about her. The lives of Queen Nandi (King Shaka’s mother) and Princess Mkabayi (King Shaka’s aunt) made for fascinating stories I had been privileged to discover, and I felt they were South African treasures to be elevated and shared with the world. The two works listed above form part of my repertoire based on Zulu royal history which are collectively known as “The Royal Trilogy,” and I have come to think of them as part of a developing “urban classical repertoire”. The Royal Trilogy is a set of three compositions with 33 independent scenes linking historical events and people. It includes the following entitled symphonic works for full orchestra: Nandi iNdlovukazi yezi Ndlovukazi (hereinafter “Queen Nandi”), Inkosazane Mkabayi (hereinafter “Princess Mkabayi”), and iNkosi uShaka: Umbono, Isizwe, Isiphetho - King Shaka: A Vision, A Nation, A Destiny (hereinafter “King Shaka”). Nandi premiered on 22 September 2016 as part of “A Musical Tribute Celebrating 200 Years of the Zulu Monarchy,” and “Mkabayi” premiered on 6 September 2018 under a programme titled “Princess Mkabayi: Celebrating Heritage Month”. Both pieces were performed at the Durban City Hall by the KwaZulu-Natal Philharmonic Orchestra with a mass Zulu choir (combination of the Clermont Community Choir, Prince Mshiyeni Choir, and Thokozani Choral Society) for socio-economic and ethnically diverse audiences. The final work, “King Shaka,” is expected to premiere in 2023. A future adaption of the Royal Trilogy is envisioned as an Afro Fusion Contemporary Ballet. , Thesis (MMus) -- Faculty of Humanities, Music & Musicology, 2023
- Full Text:
- Authors: Bessey, Warren Gregory
- Date: 2023-04-10
- Subjects: Composition (Music) , Zulu (African people) Songs and music , Music Cross-cultural studies , uMkabayi kaJama , Nandi , Nobility South Africa Zululand History
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/404940 , vital:70123
- Description: Excerpt from Introduction: My interest in the Zulu royal family intensified as I began to read many stories and have lengthy conversations with members of the Zulu royal family and others, including Dr Maxwell Shamase (University of Zululand), about Zulu history. I was struck by the power and prowess of Princess Mkabayi (1750-1843). The elders were said to be speechless when she spoke. According to Shamase, a common Zulu expression which references Mkabayi’s well-known verbal skill is Umuntu ukhuluma kome umlomo, and translates as [like Mkabayi] the speaker speaks clearly and leaves no room for misunderstandings and misinterpretations. I found her to be a brilliant strategist with a servant heart and one whom history had not given due credit, and I was inspired to bring her story to life by setting it to music. I wanted to explore whether or not the events surrounding Mkabayi led to a change of consciousness among the Zulu nation, and I used this as a theme for my symphonic work about her. The lives of Queen Nandi (King Shaka’s mother) and Princess Mkabayi (King Shaka’s aunt) made for fascinating stories I had been privileged to discover, and I felt they were South African treasures to be elevated and shared with the world. The two works listed above form part of my repertoire based on Zulu royal history which are collectively known as “The Royal Trilogy,” and I have come to think of them as part of a developing “urban classical repertoire”. The Royal Trilogy is a set of three compositions with 33 independent scenes linking historical events and people. It includes the following entitled symphonic works for full orchestra: Nandi iNdlovukazi yezi Ndlovukazi (hereinafter “Queen Nandi”), Inkosazane Mkabayi (hereinafter “Princess Mkabayi”), and iNkosi uShaka: Umbono, Isizwe, Isiphetho - King Shaka: A Vision, A Nation, A Destiny (hereinafter “King Shaka”). Nandi premiered on 22 September 2016 as part of “A Musical Tribute Celebrating 200 Years of the Zulu Monarchy,” and “Mkabayi” premiered on 6 September 2018 under a programme titled “Princess Mkabayi: Celebrating Heritage Month”. Both pieces were performed at the Durban City Hall by the KwaZulu-Natal Philharmonic Orchestra with a mass Zulu choir (combination of the Clermont Community Choir, Prince Mshiyeni Choir, and Thokozani Choral Society) for socio-economic and ethnically diverse audiences. The final work, “King Shaka,” is expected to premiere in 2023. A future adaption of the Royal Trilogy is envisioned as an Afro Fusion Contemporary Ballet. , Thesis (MMus) -- Faculty of Humanities, Music & Musicology, 2023
- Full Text:
Composition Portfolio
- Authors: Hanmer, Paul Dylan
- Date: 2022-10-14
- Subjects: Composition (Music) , String quartets Scores , Symphonies Scores , Music South Africa
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/327283 , vital:61100 , DOI 10.21504/10962/327283
- Description: Extract from Introduction: “In the cover bands I worked with, I used to do what all my colleagues in these bands were doing to learn and remember repertoire; transcribe “by ear” and then rehearse with the whole band. Later, when I joined “909” [a cover band named after the “909” model of drum-box developed and built by the Japanese company, Roland] I learned to extend that skill by notating my transcriptions and then playing from these self-made keyboard parts. All the instrumentalists in that band likewise played from their own notated transcriptions and, from that time onward it became rarer for me to do any kind of performance work without a set of self-made parts to read from or refer to. I had thus reverted to performing from musical notation. Even later, when I became involved almost exclusively in improvisational music performance, I never quite abandoned the notion of having notated keyboard or piano parts to hand, as a reference or guide. Since about 1990, I have led a life that has increasingly left pop music behind and instead embraced working with improvising musicians; those who wish to explore South African folk idioms in their compositional and performance output, as well as others who have a deep love of jazz music. At the same time, I have re-entered the realm of classical music and music-making; often through writing arrangements of my own music, which would incorporate classically trained players, as well as in response to commissions to compose [for particular musicians or groups of musicians] fully notated pieces of music – such as the works in this PhD portfolio. Yet, there are many circumstantial factors that feed into my composing, and exert an influence on my creativity. A major step in this particular direction came during 2002 when composer, Michael Blake, asked me to contribute to The Bow Project. This commission brought me into close contact with the [then intact and very active] Sontonga Quartet. Several further requests for, and commissions of, new works followed on from there. Two such works constitute the major portion of the portfolio to which these reflexive commentaries refer.” , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Authors: Hanmer, Paul Dylan
- Date: 2022-10-14
- Subjects: Composition (Music) , String quartets Scores , Symphonies Scores , Music South Africa
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/327283 , vital:61100 , DOI 10.21504/10962/327283
- Description: Extract from Introduction: “In the cover bands I worked with, I used to do what all my colleagues in these bands were doing to learn and remember repertoire; transcribe “by ear” and then rehearse with the whole band. Later, when I joined “909” [a cover band named after the “909” model of drum-box developed and built by the Japanese company, Roland] I learned to extend that skill by notating my transcriptions and then playing from these self-made keyboard parts. All the instrumentalists in that band likewise played from their own notated transcriptions and, from that time onward it became rarer for me to do any kind of performance work without a set of self-made parts to read from or refer to. I had thus reverted to performing from musical notation. Even later, when I became involved almost exclusively in improvisational music performance, I never quite abandoned the notion of having notated keyboard or piano parts to hand, as a reference or guide. Since about 1990, I have led a life that has increasingly left pop music behind and instead embraced working with improvising musicians; those who wish to explore South African folk idioms in their compositional and performance output, as well as others who have a deep love of jazz music. At the same time, I have re-entered the realm of classical music and music-making; often through writing arrangements of my own music, which would incorporate classically trained players, as well as in response to commissions to compose [for particular musicians or groups of musicians] fully notated pieces of music – such as the works in this PhD portfolio. Yet, there are many circumstantial factors that feed into my composing, and exert an influence on my creativity. A major step in this particular direction came during 2002 when composer, Michael Blake, asked me to contribute to The Bow Project. This commission brought me into close contact with the [then intact and very active] Sontonga Quartet. Several further requests for, and commissions of, new works followed on from there. Two such works constitute the major portion of the portfolio to which these reflexive commentaries refer.” , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
Composition portfolio
- Authors: Lemmer, Elizabeth Kate
- Date: 2022-04
- Subjects: Composition (Music) , Music South Africa , COVID-19 (Disease) and the arts , Emotions in music , Violin music Scores , String quartets Scores , Chamber music Scores
- Language: English
- Type: Master's thesis , text , sheet music
- Identifier: http://hdl.handle.net/10962/232624 , vital:50008
- Description: In this portfolio I reflect on issues Covid-19 has brought to our communities and the possibilities of creating a brighter future. My music reflects the struggle that most people have faced in the last two years, the emotions and the conspiracies surrounding the experience, and the effect of solitude. In a time such as this it is almost inevitable that the music being composed is connected to the struggle in society at large. For ma composition is a journal of the heart. The pandemic has created a situation where most are out of touch with each other, have lost all previous routine and structure, where relationships are broken due to lack of personal contact, and almost everyone has unwillingly (or unwittingly) been thrust into self-reflection. Every day sees a new struggle to squeeze in all those pre-pandemic ideals so that some normalcy can be obtained, but this is not a time to be looking back. It’s a time to understand what we are going through, build new joy and excitement for this different life and learn to live the best we can with the opportunities we are given. There has not been a more important time to foster some form of connection with friends and family, and to be as strong and supportive as possible. The portfolio begins with a solo violin piece, Unwelcome Solitude, which exemplifies the loneliness and sadness during the various lockdowns over the last two years, with hints of the past and the difficulties in trying to resurrect pre-Covid-19 times. There are some unusual expressive markings to add to the descriptive effect within the piece. This is followed by The Pandemic, two serialism works: Panic and Pain scored for a string quartet. Both of these pieces apply a flexible use of serialism to emphasize out the emotional aspects of the music, and quite simply; the panic and the pain caused by Covid-19 and the country’s response to the pandemic as a whole. Finally there is a three movement chamber piece titled A Storm Series which quite literally represents the series of events that occur from the upcoming to the closure of a typical Highveld storm. Further than this, these pieces represent the series of events that occurred in South Africa from the first rumour of the Covid-19 virus starting to circle around the world, through the various lockdowns and progression of events in our country and abroad. The final movement of this series, Re-awakening, ends on a positive note representing the rainbow at the end of the storm, and the positive outlook for South Africa to keep persevering through the pandemic. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Authors: Lemmer, Elizabeth Kate
- Date: 2022-04
- Subjects: Composition (Music) , Music South Africa , COVID-19 (Disease) and the arts , Emotions in music , Violin music Scores , String quartets Scores , Chamber music Scores
- Language: English
- Type: Master's thesis , text , sheet music
- Identifier: http://hdl.handle.net/10962/232624 , vital:50008
- Description: In this portfolio I reflect on issues Covid-19 has brought to our communities and the possibilities of creating a brighter future. My music reflects the struggle that most people have faced in the last two years, the emotions and the conspiracies surrounding the experience, and the effect of solitude. In a time such as this it is almost inevitable that the music being composed is connected to the struggle in society at large. For ma composition is a journal of the heart. The pandemic has created a situation where most are out of touch with each other, have lost all previous routine and structure, where relationships are broken due to lack of personal contact, and almost everyone has unwillingly (or unwittingly) been thrust into self-reflection. Every day sees a new struggle to squeeze in all those pre-pandemic ideals so that some normalcy can be obtained, but this is not a time to be looking back. It’s a time to understand what we are going through, build new joy and excitement for this different life and learn to live the best we can with the opportunities we are given. There has not been a more important time to foster some form of connection with friends and family, and to be as strong and supportive as possible. The portfolio begins with a solo violin piece, Unwelcome Solitude, which exemplifies the loneliness and sadness during the various lockdowns over the last two years, with hints of the past and the difficulties in trying to resurrect pre-Covid-19 times. There are some unusual expressive markings to add to the descriptive effect within the piece. This is followed by The Pandemic, two serialism works: Panic and Pain scored for a string quartet. Both of these pieces apply a flexible use of serialism to emphasize out the emotional aspects of the music, and quite simply; the panic and the pain caused by Covid-19 and the country’s response to the pandemic as a whole. Finally there is a three movement chamber piece titled A Storm Series which quite literally represents the series of events that occur from the upcoming to the closure of a typical Highveld storm. Further than this, these pieces represent the series of events that occurred in South Africa from the first rumour of the Covid-19 virus starting to circle around the world, through the various lockdowns and progression of events in our country and abroad. The final movement of this series, Re-awakening, ends on a positive note representing the rainbow at the end of the storm, and the positive outlook for South Africa to keep persevering through the pandemic. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
Composition portfolio
- Authors: Caplan, Anthony
- Date: 2017
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/6940 , vital:21202
- Description: Restricted access-thesis available at the Music Library
- Full Text: false
- Authors: Caplan, Anthony
- Date: 2017
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/6940 , vital:21202
- Description: Restricted access-thesis available at the Music Library
- Full Text: false
Legal access to our musical history: an investigation into the copyright implications of archived musical recordings held at the International Library of African Music (ILAM) in South Africa
- Authors: McConnachie, Boudina
- Date: 2009
- Subjects: Tracey, Hugh International Library of African Music South Africa. Copyright Act 1978 Copyright -- Music -- South Africa Music -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2648 , http://hdl.handle.net/10962/d1002313
- Description: This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.
- Full Text:
- Authors: McConnachie, Boudina
- Date: 2009
- Subjects: Tracey, Hugh International Library of African Music South Africa. Copyright Act 1978 Copyright -- Music -- South Africa Music -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2648 , http://hdl.handle.net/10962/d1002313
- Description: This thesis explores the South African Copyright Act No. 98 of 1978 as it pertains to the archived holdings at the International Library of African Music (ILAM) situated at Rhodes University, Grahamstown, South Africa. The purpose of analysing this law is to advise and assist ILAM in fulfilling royalty payment obligations as stipulated in a contract signed between ILAM and the Smithsonian Global Sound (formally Global Sound Network) in 2001. In order to clearly comprehend the scope of the royalty payment clause in the Smithsonian Institution’s contract with ILAM, this research includes an examination of: the history and nature of South African copyright as a sub-structure of intellectual property; specific internationally documented copyright infringement cases; the recording and documentation practices of Hugh Tracey (ILAM’s founder and director from 1954 to 1977); the contract between Global Sound Network and ILAM; and contentious issues surrounding collective ownership and indigenous knowledge. In conclusion, this research suggests equitable solutions to ILAM’s copyright concerns and proposes the Eastern Cape Music Archiving Project (ECMAP) as a practical vehicle to assist the South African Department of Trade and Industry in implementation of the South African Intellectual Property Amendment Bill (2008) if, and when, it is passed.
- Full Text:
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