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The jazz divas an analysis of the musical careers of six New Brighton vocalists

- Butete, Netsayi

Authors: Butete, Netsayi
Date: 2012
Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
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The solo piano music of Einojuhani Rautavaara

- Matambo, Lotta Eleonoora

Authors: Matambo, Lotta Eleonoora
Date: 2012
Subjects: Rautavaara, Einojuhani, 1928 -- Piano music -- Criticism and interpretation Piano music -- History and criticism
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2646 , http://hdl.handle.net/10962/d1002311
Description: Einojuhani Rautavaara's oeuvre is characterised by four distinctive creative periods, each demonstrating a remarkable variety of compositional idioms and styles. His application of multifaceted elements, often within a single work leading to notions of postmodernism, is derived from multifarious sources, such as (Finnish) folklore, Orthodox mysticism and a wide variety of standard twentieth century compositional techniques. Furthermore, Rautavaara regularly quotes from his own material, thus creating elements of auto-allusions within his oeuvre; a predisposition which forms an essential part of his compositional aesthetic. Analyses of eight piano works (1952-2007) provide a cross-section of Rautavaara's output which, together with a consideration of biographical factors and analytical focus on the intertextual elements of his writing, offers a rationale for determining the development of his musical identity. The analyses conclude that intertextual elements, which appear through a diverse array of expressive modes (such as mysticism, nationalism and constructivism) are an essential part of Rautavaara's eclectic compositional style and contribute to an understanding of the on-going development of his musical identity.
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A strange counterpoint : classical music performance and identities in Grahamstown, South Africa

- Marais, Terence Wilmot Eugene

Authors: Marais, Terence Wilmot Eugene
Date: 2011
Subjects: Music -- Western influences Music -- Performance -- Psychological aspects Music appreciation -- South Africa -- Grahamstown Music -- South Africa -- Grahamstown
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2677 , http://hdl.handle.net/10962/d1007491
Description: This study investigates the perceptions of South African practitioners of Western European Art Music (WEAM), specifically as they relate to the value of WEAM in contemporary South African society. In exploring some of the connections between musical identity and national identity, it sets out to discover what value WEAM holds for a certain group of student pianists. Qualitative empirical data was collected in the form of in-depth, semi-structured interviews and questionnaire responses, and the findings point to numerous, nuanced expressions of self and varied intersections of the nation with musical identity in the life of the individual. Further, WEAM appears to represent a crucial point of identification for these individuals, in each case generating positive affirmations of the self.
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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

- McConnachie, Boudina

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.
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Understanding form and technique : Andrew Tracey's contribution to knowledge of lamellophone (mbira) music of Southern Africa

- Gumboreshumba, Laina

Authors: Gumboreshumba, Laina
Date: 2009
Subjects: Tracey, Andrew T N Ethnomusicology -- Africa Mbira Mbira music
Language: English
Type: Thesis , Masters , MA
Identifier: vital:2638 , http://hdl.handle.net/10962/d1002303
Description: This thesis interrogates Andrew Tracey’s career as an ethnomusicologist and the significance of his research and publications on lamellophone (mbira) music of the Shona/Sena in Zimbabwe and Mozambique to subsequent scholarship of lamellophones throughout southern Africa. Through a survey of authors who have cited Tracey’s publications, this study assess how his use of the pulse notation transcription method and his theory of form and harmonic structure in mbira music, which he terms ‘the system of the mbira’ (A. Tracey, 1989) have influenced and contributed to the work of ethnomusicologists, musicologists and composers. Further this research evaluates the impact on subsequent publications by other scholars of Tracey's technical analysis of mbira music. Organizing and indexing Andrew Tracey's field collection in the ILAM archive gave direct knowledge of the scope of his work. The thesis consists of six chapters. The first chapter contains a general introduction to the thesis and outlines the goals of the research. Chapter Two presents a biographical sketch of Andrew Tracey. A general introduction to the lamellophone (mbira) family of musical instruments in Zimbabwe and elsewhere in Africa is presented in Chapter Three, which also addresses the social function of lamellophone music. Chapter Four gives a summary of Andrew Tracey’s research on the Shona mbira (his publications, recordings, films etc), and it analyzes his theory - “The system of the mbira” - in which he defines the form and structure of mbira music. Chapter Five examines the impact of Andrew Tracey’s research and publications on mbira music to subsequent scholarship and makes an analysis and evaluation of the significance of his contribution to the body of knowledge of the instrument and its music. In addition I relate my personal experiences with mbira music as a Shona person and mbira player and give my opinions on Tracey’s and subsequent scholars’ theories on mbira music. Chapter Six concludes with a summary of outcomes of this research. Basing on the analyses of presented data, it is deduced that, despite a few shortcomings, Andrew Tracey’s research on mbira music is crucial for it laid the groundwork for subsequent mbira scholarship.
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Performance of Mhande song-dance: a contextualized and comparative analysis

- Rutsate, Jerry

Authors: Rutsate, Jerry
Date: 2008
Subjects: Karanga (African people) -- Music Shona (African people) -- Music Folk music -- Zimbabwe Music -- Zimbabwe Folk songs, Shona Mhande Dance music -- Zimbabwe
Language: English
Type: Thesis , Masters , MA
Identifier: vital:2655 , http://hdl.handle.net/10962/d1002321
Description: This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
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Composition portfolio

- Moss, Keith

Authors: Moss, Keith
Date: 2007
Subjects: Uncatalogued
Language: English
Type: Master's theses , text
Identifier: http://hdl.handle.net/10962/193724 , vital:45390
Description: Whitacre's music is primarily diatonic with subtle modulations, where the new key is always preserved diatonicaliy as well. I refer to this style as expanded diatonicism. Examples in my work of expanded diatonicism within this portfolio are to be found in navem ad somnium, Wynken, Blynken and Nod, as well as Hymn for Brass. My applications of expanded diatonic practices within each of these works are discussed in a separate appendix within the body of this portfolio. That these works are vocal or have a vocal inspiration (Hymn for Brass) reveals the extent of my initial reaction to Whitacre's music during a choral rehearsal. Furthermore, in my vocal compositions especially I chose texts which frequently gravitate towards ideas related to water, the ocean and ships. Whilst water has a soothing and inspiring influence upon me, presumably evidenced in my expanded diatonicism, it also represents my journey and investigation into the sound work of Whitacre in particular. It may be noticed that many of my works in this portfolio have religious orientated themes. I am a Christian, and belong to a Berean 2 Congregational Church. Whilst I am not Catholic or Anglican, I nonetheless have made use of texts from the liturgy of these denominations, as they emphasise the basis of my Christian faith. Why I chose Hymn for Brass as a title could possibly be construed as a religious reference, however it was named after the piece was written, and had no theological connotations in its inception save for the hymnody style of the orchestration. Providence and The Eventide both have a Christian philosophical foundation which is explored in depth in the accompanying appendix. The latter work explores an extension of my expanded diatonic style through incorporating aspects of chromaticism. The rationale for this is dealt with in my discussion of this work. This portfolio represents an overview of my compositional activities to date and displays my growing confidence with the technical aspects of composition as well as my yearning for experimentation with new ideas and manners of expression. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2007
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Composition portfolio

- Wynne, Donovan

Authors: Wynne, Donovan
Date: 2006
Subjects: Music -- South Africa Composition (Music) String quartets -- Scores
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2658 , http://hdl.handle.net/10962/d1003121
Description: Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.
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Composition portfolio

- Webb, Cassidy Frank

Authors: Webb, Cassidy Frank
Date: 2006
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2659 , http://hdl.handle.net/10962/d1003729
Description: Introduction: This portfolio consists of musical ideas which I have had for some time now. I have attempted to capture these ideas throughout the portfolio, starting with the smaller works (Brumes et Pluies) and building up to the larger works (James Tiberius, The tide). Brumes et Pluies is minimalistic in style. The interlocking of the two pianos plays an important role in the texture of the piece. The rhythms are repetitive throughout, with only slight variations. Kalahari is more idiomatic, rhythmical and has a main theme which recurs throughout the piece. Melodic fragments are used, sometimes with slight variations. This piece was inspired by the Kalahari desert, with its abundance of life. I enjoy the string quartet because of the homogeneity of sound on the one hand, and the diversity possible by using different techniques and effects on the other. James Tiberius is a work for chamber orchestra. Motifs in the music resemble certain animals. The rhythm is unstable, as is the harmony. There are many melodic fragments throughout. The texture is thin in certain areas (at the beginning) and dense in others (the waltz). The harmony is sometimes unconventional. The Tide was written in response to a memory of a drowning incident I experienced when I was a child. This orchestral piece is strong in form. The opening, for example, is tense and slightly atonal in harmony. The pomposo section tends to utilise most of the orchestra, so the texture is a lot denser here and the harmony is more conventional. I try not to use traditional forms in my composition. Rather, I prefer to compose by re-using and re-introducing ideas as I proceed.
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Music and (post)colonialism : the dialectics of choral culture on a South African frontier

- Olwage, Grant

Authors: Olwage, Grant
Date: 2004
Subjects: Choral music -- South Africa -- History Black people -- South Africa -- Music -- History and criticism Bokwe, John Knox, 1855-1922
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2679 , http://hdl.handle.net/10962/d1007717
Description: This thesis explores the genesis of black choralism in late-nineteenth-century colonial South Africa, attending specifically to its dialectic with metropolitan Victorian choralism. In two introductory historiographic chapters I outline the political-narrative strategies by which both Victorian and black South African choralism have been elided from music histories. Part 1 gives an account of the "structures" within and through which choralism functioned as a practice of colonisation, as "internal colonialism" in Britain and evangelical colonialism in the eastern Cape Colony. In chapter 1 I suggest that the religious contexts within which choralism operated, including the music theoretical construction of the tonic sol-fa notation and method as "natural", and the "scientific" musicalisation of race, constituted conditions for the foreign mission's embrace of choralism. The second chapter explores further such affinities, tracing sol-fa choralism's institutional affiliations with nineteenth-century "reform" movements, and suggesting that sol-fa's practices worked in fulfilment of core reformist concerns such as "industry" and literacy. Throughout, the thesis explores how the categories of class and race functioned interchangeably in the colonial imagination. Chapter 3 charts this relationship in the terrain of music education; notations, for instance, which were classed in Britain, became racialised in colonial South Africa. In particular I show that black music education operated within colonial racial discourses. Chapter 4 is a reading of Victorian choralism as a "discipline", interpreting choral performance practice and choral music itself as disciplinary acts which complemented the political contexts in which choralism operated. Part 1, in short, explores how popular choralism operated within and as dominant politicking. In part 2 I turn to the black reception of Victorian choralism in composition and performance. The fifth chapter examines the compositional discourse of early black choral music, focussing on the work of John Knox Bokwe (1855-1922). Through a detailed account of several of Bokwe's works and their metropolitan sources, particularly late-nineteenth century gospel hymnody, I show that Bokwe's compositional practice enacted a politics that became anticolonial, and that early black choral music became "black" in its reception. I conclude that ethno/musicological claims that early black choral music contains "African" musical content conflate "race" and culture under a double imperative: in the names of a decolonising politics and a postcolonial epistemology in which hybridity as resistance is racialised. The final chapter explores how "the voice" was crucial to identity politics in the Victorian world, an object that was classed and racialised. Proceeding from the black reception of choral voice training, I attempt to outline the beginnings of a social history of the black choral voice, as well as analyse the sonic content of that voice through an approach I call a "phonetics of timbre".
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A survey of the development of pitch perception theories, their application to bell sounds and an investigation of perceived differences between ringing and chiming bells

- Botha, Alison

Authors: Botha, Alison
Date: 1998
Subjects: Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
Language: English
Type: Thesis , Masters , MSc
Identifier: vital:2631 , http://hdl.handle.net/10962/d1002296 , Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
Description: A brief overview of the workings of the human auditory system is followed by a review of literature concerning both the theories and experimental investigations of human pitch perception. The application of these theories to the inharmonic complex tones produced by bells is discussed, and further experiments using bell sounds are reviewed. A methodology for psychoacoustic experiments with specific reference to those investigating pitch perception of inharmonic complex tones is presented. This methodology is then implemented in an experimental investigation of pitch perception of ringing and chiming bell sounds. A pitch matching experiment using ringing and chiming sounds from four bells aimed to determine perceived pitch differences between ringing and chiming bells. This experiment was inconclusive because insufficient data was collected. Known experimental results, such as the inability of non-musicians to match the pitches of sounds with different timbres were confirmed. Spectral analyses of the stimuli were performed. The presentation of stimuli at a low level of sensation is questioned, as this might have prevented pseudo high frequency noise resulting from stronger upper partials in the ringing sound from being audible, and hence the pitch differences between ringing and chiming bells would not be observed.
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Analysis of selected choral works by John Tavener with particular reference to the post-1977 works

- Imrie, Sally

Authors: Imrie, Sally
Date: 1998
Subjects: Tavener, John Choral music
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2642 , http://hdl.handle.net/10962/d1002307
Description: This thesis deals with sacred choral music written by John Tavener, a British composer born in 1944. It touches briefly on the background of Tavener and his early works (i.e. from about 1960-1976) - two works from that period have been selected for analysis, Celtic Requiem and Nomine Jesu. The main body of the thesis is concerned with those works composed,.after 1977, which show the influence of the Orthodox Church and Byzantine hymnography on Tavener's stylistic development. The selected works from this period to be analysed are: Ode of St Andrew of Crete, Two Hymns to the Mother of God, Magnificat, Nunc Dimittis, The Uncreated Eros, Eonia and We Shall See Him As Heis.
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The growth, development and impact of the Grahamstown Festival of the Arts with special reference to music

- Silva, Jane Susan

Authors: Silva, Jane Susan
Date: 1998
Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
Language: English
Type: Thesis , Masters , MA
Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
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A portfolio of original compositions exploring syncretism between Indian and western music

- Ram, Deepak

Authors: Ram, Deepak
Date: 1996
Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
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Religion, tradition and custom in a Zulu male vocal idiom

- Ndlovu, Caesar Maxwell Jeffrey

Authors: Ndlovu, Caesar Maxwell Jeffrey
Date: 1996
Subjects: Songs, Zulu Zulu (African people) -- Social life and customs Zionist churches (Africa) -- South Africa -- Transkei Church music -- South Africa African indigenous/independent churches
Language: English
Type: Thesis , Doctoral , PhD
Identifier: vital:2650 , http://hdl.handle.net/10962/d1002315
Description: The study is about a Zulu male vocal tradition called isicathamiya performed by 'migrants' in all night competitions called ingomabusuku. This is a performance style popularized by the award winning group Ladysmith Black Mambazo. Isicathamiya, both in its symbolic structure and in the social and culturalpractice of its proponents has much in common with the ritual practices of Zionists. And Zionists are worshippers who integrate traditional beliefs and Christianity. This study will reveal that isicathamiya performance and Zionists are linked in three major areas:in the sqcial bases and practice of its proponents, in the structural properties of their performances and tn the meanings attached to these practices. Firstly, Zionists, who are also called a Separatist or African Independent church, and isicathamiya performers have minimal education and are employed in low income jobs in the cities. Most groups are formed with 'homeboy networks'. Furthermore, performers, unlike their brothers in the city, cling tenaciously to usiko [custom and tradition]. Although they are Christians, they still worship Umvelinqangi [The One Who Came First], by giving oblations and other forms of offerings. Amadlozi [the ancestors] are still believed to be their mediators with God. Also commonplace in this category is the practice of ukuchatha, [cleansing the stomach with some prepared medicine]; and ukuphalaza [taking out bile by spewing, which is also done as a way of warding off evil spirits]. These are rural practices that have meaning in their present domiciles. The second area of similarity consists in the structure of the nocturnal gatherings that form the core of the ritual and performance practices among isicathamiya singers and Zionists. Thus, a core of the ritual of Zionists is umlindelo [night vigil] which takes place every weekend from about 8 at night until the following day. Likewise, isicathamiya performers have competitions every Saturday evening from 8 at night until about 11 am the following day. Although Zionists night vigils are liturgical and isicathamiya competitions secular, the structures of both isicathamiya choreography and Zionists body movements appear the same. These movements are both rooted in a variety of traditional styles called ingoma. Thirdly, the meanings attached to these symbolic correspondences must be looked for in the selective appropriation of practices and beliefs taken to be traditional. Using present day commentaries in song and movement, ingoma and other rural styles performed in competitions and Zionists night vigils reflect a reconstruction of the past. Isicathamiya performers and Zionists see themselves as custodians of Zulu tradition, keeping Zulu ethnicity alive in the urban environment. This is why in this study we are going to see rural styles like ingoma, isifekezeli [war drills], ukusina [solo dancing] that were performed on the fields, now performed, sort of feigned and 'held in' as they are p~rformed in dance halls with wooden stages.
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The role of the cadence as determining factor of phrasing of the organ toccatas, preludes and fantasias of Johann Sebastian Bach

- Du Plooy, Jacobus Stephanus

Authors: Du Plooy, Jacobus Stephanus
Date: 1996
Subjects: Bach, Johann Sebastian, 1685-1750 -- Criticism and interpretation
Language: English
Type: Thesis , Masters , MMus
Identifier: vital:2636 , http://hdl.handle.net/10962/d1002301
Description: This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.
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