Church music as pedagogy: An investigation through digital storytelling into the role that Southern African Christian Church music praxis played in the musical development of five professional musicians
- Authors: Mathebula, Praise Ntsako
- Date: 2024-10-11
- Subjects: Church music Africa, Southern , Indigenous music , Digital storytelling , Music of Southern Africa , Musicians Africa, Southern , Western education
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/465975 , vital:76673
- Description: Using an ethnographic and autoethnographic approach, this study investigated how the church has influenced the development and practice of five professional musicians practicing in South Africa. This research resulted from discussions with numerous musicians who had their music genesis at church, some of them well-known professionals in the country. Reflecting on the history of church music education that can be traced back to the arrival of the missionaries on the African continent and the different types of music education settings that can be found in South Africa, this thesis analyses the approach and delivery of music pedagogy that exists in the South African church setting. Discussing the introduction of Western musical tools such as tonic-solfa, choral music and four-part singing, this research contextualises the historical effect of mission education of several South African composers, including Tiyo Soga, Enoch Sontonga and John Knox Bokwe. Thereafter, using Digital Storytelling (DS) as a methodology for data collection and Ethnographic Content Analysis (ECA) as an analytic tool, co-researchers were given the opportunity to create data or share their stories in a novel manner, which has proven to develop powerful, honest and self-reflexive results. Important pedagogic themes that emerged as being part of a shared church-led approach to music teaching and learning include practice and consistent performance; collaboration; imitation; embodied and experiential learning, rote learning, and memorisation. Central to using DS as a methodology, this study found that musical identity and early pedagogical approaches to learning music play an important factor in further musical development and education. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Date Issued: 2024-10-11
- Authors: Mathebula, Praise Ntsako
- Date: 2024-10-11
- Subjects: Church music Africa, Southern , Indigenous music , Digital storytelling , Music of Southern Africa , Musicians Africa, Southern , Western education
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/465975 , vital:76673
- Description: Using an ethnographic and autoethnographic approach, this study investigated how the church has influenced the development and practice of five professional musicians practicing in South Africa. This research resulted from discussions with numerous musicians who had their music genesis at church, some of them well-known professionals in the country. Reflecting on the history of church music education that can be traced back to the arrival of the missionaries on the African continent and the different types of music education settings that can be found in South Africa, this thesis analyses the approach and delivery of music pedagogy that exists in the South African church setting. Discussing the introduction of Western musical tools such as tonic-solfa, choral music and four-part singing, this research contextualises the historical effect of mission education of several South African composers, including Tiyo Soga, Enoch Sontonga and John Knox Bokwe. Thereafter, using Digital Storytelling (DS) as a methodology for data collection and Ethnographic Content Analysis (ECA) as an analytic tool, co-researchers were given the opportunity to create data or share their stories in a novel manner, which has proven to develop powerful, honest and self-reflexive results. Important pedagogic themes that emerged as being part of a shared church-led approach to music teaching and learning include practice and consistent performance; collaboration; imitation; embodied and experiential learning, rote learning, and memorisation. Central to using DS as a methodology, this study found that musical identity and early pedagogical approaches to learning music play an important factor in further musical development and education. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Date Issued: 2024-10-11
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:
- Date Issued: 2024-10-11
- 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:
- Date Issued: 2024-10-11
Jazz pedagogical strategies: an A/R/Tographic investigation into the implementation of the South African jazz CAPS syllabus
- Authors: Rungan, Natalie
- Date: 2023-10-13
- Subjects: Jazz Instruction and study , Durban High School Curricula , Jazz Outlines, syllabi, etc. , Curriculum-based assessment South Africa , Jazz vocals , Jazz education , South Africa. Department of Basic Education
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432488 , vital:72875 , DOI 10.21504/10962/432488
- Description: The Jazz stream of the Curriculum and Assessment Policy Statement Further Education and Training music curriculum was introduced in South Africa in 2012 (DBE, 2011a). Despite the intentions of the government to promote diversity, social transformation, and inclusion, subject music is still weighted towards Western Art Music, perpetuating past biases of a Eurocentric model for music education. This study, which uses a mixed-method approach, seeks to create strategies to advance Jazz education in South Africa through an a/r/tographic analysis of the author’s Jazz pedagogical methods at Durban High School in KwaZulu Natal, South Africa. Key approaches include curriculum theory, currere, a/r/tography, among others. After reviewing Jazz pedagogy in the U.S.A. and South Africa as a starting point, using Pinar’s (1994) method of currere, the author demonstrates how past personal music educational processes have led to present Jazz pedagogical methods. Six original compositions were written that outline the influences that infused these methods and added to the creative output related to this research. Interviews were conducted with key stakeholders in the Jazz community to gain perspective about the current state of Jazz education, and with students to provide insight into their reactions to the Jazz stream of CAPS. This presents new information about the curriculum from a learners’ perspective. Ethical clearance for research with children was sought and received (Appendix A). Findings show that the ability of learners to recognise the value in, and identity relating to, their African culture through Jazz points to a pivotal departure from previous Eurocentric music education models. However, despite South Africa being positioned as one of the only countries offering Jazz as a subject choice to high school learners, the selection of Jazz in the subject of Music remains underutilised. This study concludes that for Jazz education to advance in South African high schools, there needs to be intentional engagement with Jazz professionals at the high school level. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Rungan, Natalie
- Date: 2023-10-13
- Subjects: Jazz Instruction and study , Durban High School Curricula , Jazz Outlines, syllabi, etc. , Curriculum-based assessment South Africa , Jazz vocals , Jazz education , South Africa. Department of Basic Education
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432488 , vital:72875 , DOI 10.21504/10962/432488
- Description: The Jazz stream of the Curriculum and Assessment Policy Statement Further Education and Training music curriculum was introduced in South Africa in 2012 (DBE, 2011a). Despite the intentions of the government to promote diversity, social transformation, and inclusion, subject music is still weighted towards Western Art Music, perpetuating past biases of a Eurocentric model for music education. This study, which uses a mixed-method approach, seeks to create strategies to advance Jazz education in South Africa through an a/r/tographic analysis of the author’s Jazz pedagogical methods at Durban High School in KwaZulu Natal, South Africa. Key approaches include curriculum theory, currere, a/r/tography, among others. After reviewing Jazz pedagogy in the U.S.A. and South Africa as a starting point, using Pinar’s (1994) method of currere, the author demonstrates how past personal music educational processes have led to present Jazz pedagogical methods. Six original compositions were written that outline the influences that infused these methods and added to the creative output related to this research. Interviews were conducted with key stakeholders in the Jazz community to gain perspective about the current state of Jazz education, and with students to provide insight into their reactions to the Jazz stream of CAPS. This presents new information about the curriculum from a learners’ perspective. Ethical clearance for research with children was sought and received (Appendix A). Findings show that the ability of learners to recognise the value in, and identity relating to, their African culture through Jazz points to a pivotal departure from previous Eurocentric music education models. However, despite South Africa being positioned as one of the only countries offering Jazz as a subject choice to high school learners, the selection of Jazz in the subject of Music remains underutilised. This study concludes that for Jazz education to advance in South African high schools, there needs to be intentional engagement with Jazz professionals at the high school level. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
Perceptions of African musical arts education in foundation and intermediate phases in government schools as seen through the South African academy since 2011: an exploration through meta-ethnography
- Chirombo, Ilana Elize Caroline
- Authors: Chirombo, Ilana Elize Caroline
- Date: 2023-10-13
- Subjects: Music Instruction and study South Africa , Music of Africa , Arts, African , Traditional knowledge , Qualitative research , Ethnography
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425366 , vital:72233
- Description: The aim of this study is twofold: first, to understand meta-ethnography as a tool of synthesis; second, to use this methodology to explore perceptions of African musical arts education in the Foundation and Intermediate Phases in government schools in South Africa after 2011. Meta-ethnography is a methodology used to synthesise qualitative material by means of seven distinct phases: getting started; deciding what is relevant to the initial interest; reading the studies; determining how they are related; translating the studies into one another; weaving them together into a synthesis; and expressing the synthesis. This study synthesises five articles discovered through a deep search of the literature. Through the process of synthesis, a narrative emerges that connects past prejudice in music education in South Africa to present day educational inequality, one that looks towards a future in which children’s agency is harnessed in the multicultural world we live in to teach music in a relevant, contextual way. The synthesis extracts perceptions on colonialism and apartheid; educational access; post-apartheid curricula; music education pedagogies; informal music making; children’s games and agency; into the classroom; and how to assess. These themes weave a clear perspective on African musical arts education, and a reciprocal synthesis of the views of the articles’ authors. This study finds meta-ethnography to be a rigorous, understandable methodological tool for qualitative synthesis, one which serves the purpose of researchers, no matter the depth of their engagement with the synthesis. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Chirombo, Ilana Elize Caroline
- Date: 2023-10-13
- Subjects: Music Instruction and study South Africa , Music of Africa , Arts, African , Traditional knowledge , Qualitative research , Ethnography
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425366 , vital:72233
- Description: The aim of this study is twofold: first, to understand meta-ethnography as a tool of synthesis; second, to use this methodology to explore perceptions of African musical arts education in the Foundation and Intermediate Phases in government schools in South Africa after 2011. Meta-ethnography is a methodology used to synthesise qualitative material by means of seven distinct phases: getting started; deciding what is relevant to the initial interest; reading the studies; determining how they are related; translating the studies into one another; weaving them together into a synthesis; and expressing the synthesis. This study synthesises five articles discovered through a deep search of the literature. Through the process of synthesis, a narrative emerges that connects past prejudice in music education in South Africa to present day educational inequality, one that looks towards a future in which children’s agency is harnessed in the multicultural world we live in to teach music in a relevant, contextual way. The synthesis extracts perceptions on colonialism and apartheid; educational access; post-apartheid curricula; music education pedagogies; informal music making; children’s games and agency; into the classroom; and how to assess. These themes weave a clear perspective on African musical arts education, and a reciprocal synthesis of the views of the articles’ authors. This study finds meta-ethnography to be a rigorous, understandable methodological tool for qualitative synthesis, one which serves the purpose of researchers, no matter the depth of their engagement with the synthesis. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-10-13
Instrument building as a tool for the revitalisation and revaluing of traditional music transmission: An investigation in Tshandama and Mbahe in Venda, South Africa
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Instrument making , Ecomusicology South Africa Venda , Venda (African people) Music , Group identity South Africa Venda , Musical instruments South Africa Venda , Environmental awareness
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
- Authors: Makhanza, Joseph
- Date: 2023-03-31
- Subjects: Instrument making , Ecomusicology South Africa Venda , Venda (African people) Music , Group identity South Africa Venda , Musical instruments South Africa Venda , Environmental awareness
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/419525 , vital:71651
- Description: This study stems from my experiences as a child who grew up playing herd boys’ musical instruments from Venda, such as the tshipotoliyo (ocarina), and tshitiringo (flute). Importantly it also builds on my time working at the International Library of African Music (ILAM,) where the aforementioned instruments, as well as the dende (musical bow) and tshizambi (Vhavenda and Vatsonga mouth bow), are displayed in transparent glass cubicles with a note, “Do not touch, they are fragile”. This phrase is painfully apt because, as a musician, I have observed a decline in the availability and performance of these musical instruments. The truth is that, other than at ILAM, these instruments are hardly in circulation, let alone being performed. This fact ignited my interest in relearning some of the musical instruments I used to play and make while herding cows in Giyani. In the context of trends such as modernisation, rural–urban migration, and globalisation, I document my experiences as a musical-instrument maker, teacher, and performer in revitalising dende, tshipotoliyo, tshitiringo, and tshizambi through classroom practice, using Rhodes music students, instrument-making workshops, performances, and community collaborations as inspiration. I propose the development of crafting skills as a medium for revitalising and sustaining these musical instruments which serve as important identity markers of the Vhavenda people. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Date Issued: 2023-03-31
A critical analysis of Professor Andrew Tracey’s contribution to African music pedagogy and the field of applied ethnomusicology
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Moyo, Vuyelwa O'Lacy
- Date: 2022-10-14
- Subjects: Tracey, Andrew T N , Ethnomusicology , Music Instruction and study Africa , Mbira Zimbabwe
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406829 , vital:70311
- Description: The research presented in this thesis is based on my interest and experience in forms of African music, ethnomusicology, and studying mbira with Professor Emeritus Andrew Tracey. When I arrived in South Africa in 2019 to join Rhodes University’s Applied Ethnomusicology programme, I chose to study the mbira with Tracey as the idea of learning more about Zimbabwe through music was important to the formation of my identity. Through the lens of embodied learning and a practice-based approach in this research, I evaluate how Tracey’s numerous contributions to African music pedagogy have improved prospects for African music scholars and students in terms of contributing to the goals of applied ethnomusicology. The primary purpose of this thesis is to respond to the absence of serious scrutiny of existing pedagogical approaches to African music at universities across South Africa. The contribution this research makes will be valuable to African music programmes across the continent as well as to practitioners of African traditional instruments, such as the marimba, mbira, timbila xylophones, nyanga pan pipes, and valimba xylophones. The thesis comprises five chapters. The first presents an introduction to the research, and its goals, procedures and approaches, along with an outline of the subsequent chapters. Tracey’s biography is covered in the second chapter. A consideration of the state of African music teaching in other African countries such as Ghana, Kenya, and Zimbabwe; the history of African music; and the state of African music pedagogy in tertiary institutions in South Africa constitutes the third chapter. Chapter 4 comprises an analysis of Tracey’s articles and data gathered from interviews, as well as my personal reflections as Tracey’s student. The final chapter presents a summary of the preceding chapters, the study’s findings, and suggestions for further research. A multidisciplinary approach was used for this thesis. The results finds that Tracey’s articles had six common themes which he wrote about and are a contribution to African music pedagogy. These themes are the history of instruments, the structure of the instrument, the learning/playing technique, structure of the instrument, transcription and dance steps. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
The soul of Mozambique: an autoethnographic and performance-based study on the correlation of glabalisation, Chopi people migrations and the reinterpretation of timbila music in Mozambique
- Authors: Bande Júnior, Venâncio
- Date: 2022-10-14
- Subjects: Timbila , Chopi (African people) Mozambique , Music festivals Mozambique , Traditional knowledge , Music and globalization , Modernity , Traditional folk music
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406818 , vital:70310
- Description: This is an autoethnographic and performance-based study on the correlation between indigenous and modern cultures. It discusses the influence of globalisation, modernity, and of the Chopi people migrations to Maputo, the main city of Mozambique and to gold and platinum mines in South Africa, on timbila music. Timbila is both the name of a musical instrument (xylophone) and of a cultural manifestation, practiced by the Chopi people from Mozambique. It is one of the most documented music and dance cultures in Mozambique and was proclaimed as a masterpiece of the oral and immaterial heritage of humanity by UNESCO in 2005. The oldest references by Father Andre Fernandes date from the 16th century. However, the most well-known timbila sources were written and recorded by Hugh Tracey, the founder of the International Library of African Music (ILAM), from 1940s. All these sources were based on traditional timbila music. None refers to contemporary timbila music, which is a mixture of timbila with Western musical instruments. The research is thus based on both historical and is new research to understand the role of the phenomena mentioned above to the reinterpretation of timbila music over the time. Performance based and autoethnography methods were selected because of my role as a pedagogue of the music and culture of timbila, allowing me to express my knowledge on this cultural expression. Literature review and interviews are the two procedures of data collecting employed to get an understanding of the research methods; the phenomena of modernity, globalisation and of the Chopis migration for the searching of better living conditions in Maputo and South Africa; and the approaches of different scholars who have written about timbila. The use of these methods and methodologies, allowed me to conclude that, Chopis migrations, modernity and globalisation has allowed the emergence of a modern version of timbila music; internationalisation and dissemination of this musical expression; and contributes to the extinction of traditional timbila orchestras in Zavala. Despite considerable studies on timbila music and culture, this thesis is important and pioneering, from the perspective of studying the influence of Chopis migrations, globalisation and modernity on timbila and is one of the few sources that approach the contemporary timbila music. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Bande Júnior, Venâncio
- Date: 2022-10-14
- Subjects: Timbila , Chopi (African people) Mozambique , Music festivals Mozambique , Traditional knowledge , Music and globalization , Modernity , Traditional folk music
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/406818 , vital:70310
- Description: This is an autoethnographic and performance-based study on the correlation between indigenous and modern cultures. It discusses the influence of globalisation, modernity, and of the Chopi people migrations to Maputo, the main city of Mozambique and to gold and platinum mines in South Africa, on timbila music. Timbila is both the name of a musical instrument (xylophone) and of a cultural manifestation, practiced by the Chopi people from Mozambique. It is one of the most documented music and dance cultures in Mozambique and was proclaimed as a masterpiece of the oral and immaterial heritage of humanity by UNESCO in 2005. The oldest references by Father Andre Fernandes date from the 16th century. However, the most well-known timbila sources were written and recorded by Hugh Tracey, the founder of the International Library of African Music (ILAM), from 1940s. All these sources were based on traditional timbila music. None refers to contemporary timbila music, which is a mixture of timbila with Western musical instruments. The research is thus based on both historical and is new research to understand the role of the phenomena mentioned above to the reinterpretation of timbila music over the time. Performance based and autoethnography methods were selected because of my role as a pedagogue of the music and culture of timbila, allowing me to express my knowledge on this cultural expression. Literature review and interviews are the two procedures of data collecting employed to get an understanding of the research methods; the phenomena of modernity, globalisation and of the Chopis migration for the searching of better living conditions in Maputo and South Africa; and the approaches of different scholars who have written about timbila. The use of these methods and methodologies, allowed me to conclude that, Chopis migrations, modernity and globalisation has allowed the emergence of a modern version of timbila music; internationalisation and dissemination of this musical expression; and contributes to the extinction of traditional timbila orchestras in Zavala. Despite considerable studies on timbila music and culture, this thesis is important and pioneering, from the perspective of studying the influence of Chopis migrations, globalisation and modernity on timbila and is one of the few sources that approach the contemporary timbila music. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
Performing Emil Hartmann – The Importance of Musical Contextualisation: A practice-based research project
- Authors: Robertson, Garreth Damon
- Date: 2021-10-29
- Subjects: Hartmann, Emil, 1836-1898 , Hartmann, Emil, 1836-1898 Criticism and interpretation History 19th century , Practice (Philosophy) , Research Methodology , Contextualism (Philosophy) , Music Denmark History and criticism , Music appreciation , Musical analysis
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190771 , vital:45026
- Description: When embarking on a journey of preparing a musical work for performance, a contextualisation process is undertaken which informs the performer/s of the factors which govern the parameters of the work. In this study, the author performed Emil Hartmann’s piano trio op. 10 as a part of an integrated master’s degree program. As the composer was not a part of mainland European musical society, information on his life and work was difficult to access, which presented the performer with a contextualisation problem. This study aimed to highlight the process of contextualisation, in the absence of sufficient literary material, through the lens of Emil Hartmann’s piano trio op. 10. The research used a three-pronged methodological approach in order to construct the narrative around Hartmann’s life and composition. Through a structured process of using practice-based research to analyse the creative process undertaken by the practitioners, alongside a micro-historical and analytical methodology, the study builds layers of understanding to inform Hartmann’s narrative, and thus provides interpretational insight into the execution of the work. The research finds that, although it is possible to interpret a musical work based on the musical score, there are layers of depth which cannot be accessed without a contextual understanding of the composer and the conditions in which the composition was written. Through forming the narrative on Emil Hartmann and his piano trio, the research uses the methodology to highlight a method which can be undertaken in the absence of contextual knowledge, and thus presents a contextual understanding of Emil Hartmann’s narrative. With the constructed knowledge, the author uses the findings based on the methodological approaches to weave a narrative around the life of Emil Hartmann. Applying the information discovered in the findings, interpretational approaches are discussed to inform future performances of the work. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Robertson, Garreth Damon
- Date: 2021-10-29
- Subjects: Hartmann, Emil, 1836-1898 , Hartmann, Emil, 1836-1898 Criticism and interpretation History 19th century , Practice (Philosophy) , Research Methodology , Contextualism (Philosophy) , Music Denmark History and criticism , Music appreciation , Musical analysis
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190771 , vital:45026
- Description: When embarking on a journey of preparing a musical work for performance, a contextualisation process is undertaken which informs the performer/s of the factors which govern the parameters of the work. In this study, the author performed Emil Hartmann’s piano trio op. 10 as a part of an integrated master’s degree program. As the composer was not a part of mainland European musical society, information on his life and work was difficult to access, which presented the performer with a contextualisation problem. This study aimed to highlight the process of contextualisation, in the absence of sufficient literary material, through the lens of Emil Hartmann’s piano trio op. 10. The research used a three-pronged methodological approach in order to construct the narrative around Hartmann’s life and composition. Through a structured process of using practice-based research to analyse the creative process undertaken by the practitioners, alongside a micro-historical and analytical methodology, the study builds layers of understanding to inform Hartmann’s narrative, and thus provides interpretational insight into the execution of the work. The research finds that, although it is possible to interpret a musical work based on the musical score, there are layers of depth which cannot be accessed without a contextual understanding of the composer and the conditions in which the composition was written. Through forming the narrative on Emil Hartmann and his piano trio, the research uses the methodology to highlight a method which can be undertaken in the absence of contextual knowledge, and thus presents a contextual understanding of Emil Hartmann’s narrative. With the constructed knowledge, the author uses the findings based on the methodological approaches to weave a narrative around the life of Emil Hartmann. Applying the information discovered in the findings, interpretational approaches are discussed to inform future performances of the work. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
The prominence of choral music in the search for, and preservation of, an African identity: A study focusing on the role of choral composers in the formation of black nationalism during and after the colonial era in South Africa
- Authors: Nelani, Athenkosi
- Date: 2021-10-29
- Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190965 , vital:45045
- Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Nelani, Athenkosi
- Date: 2021-10-29
- Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190965 , vital:45045
- Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
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