Composition portfolio
- Authors: Jera, Tinashe Donaldson
- Date: 2025-04-04
- Subjects: Uncatalogued
- 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: Uncatalogued
- 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:
Enculturation and adaptation: a practice-led investigation into the history and contemporary transformation of the Bahananwa harepa
- Authors: Madiba, Elija Moleseng
- Date: 2025-04-02
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479607 , vital:78328 , DOI 10.21504/10962/479607
- Description: This thesis investigates the cultural and musical transformations of the harepa, a stringed instrument initially introduced as the autoharp by Christian missionaries in the late nineteenth century, now deeply embedded within the Basotho ba Lebowa community in Limpopo, South Africa. Through an interdisciplinary approach that blends historical ethnography with practice-led research, this thesis explores the harepa's negotiation of identity amidst the cultural shifts and modernisation affecting the community. The musical output of the harepa showcases a unique hybridity that fuses Basotho ba Lebowa traditions with Western musical influences. The aim of this research is to document the harepa instrument, analyse its music and transformation processes, highlight the musical history of research partners and emphasise the unique tunings which are distinct from Western standards. Employing methodologies that integrate participant observation, ethnographic interviews, and direct musical practice, the research engages with local musicians to understand the contemporary relevance of the harepa and its role in sustaining cultural heritage. It examines shifts in musical practices, the decline of traditional uses of the harepa, and efforts towards its revitalisation, including documenting musical repertoires and analysing performance practices. The findings highlight a complex narrative of enculturation, adaptation, and resistance, revealing the resilience of cultural identity through unique tuning systems that contrast sharply with Western musical paradigms. African tuning practices, characterised by their flexibility and reliance on auditory perception, challenge the adequacy of Western tuning methodologies. This study also investigates the potential of sampling as a method for the sonic representation of African music, advocating for a more culturally sensitive framework that respects the diversity of global musical traditions. By focusing on this localised musical phenomenon, the study illustrates broader cultural preservation and innovation dynamics within Limpopo's Basotho ba Lebowa community. It calls for ongoing dialogue and research to develop methodologies that reflect the unique cultural contexts of musical traditions worldwide. Ultimately, this work underscores the importance of engaged, practice-led research in documenting and revitalising endangered musical cultures in the face of globalisation and cultural homogenisation. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
- Authors: Madiba, Elija Moleseng
- Date: 2025-04-02
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479607 , vital:78328 , DOI 10.21504/10962/479607
- Description: This thesis investigates the cultural and musical transformations of the harepa, a stringed instrument initially introduced as the autoharp by Christian missionaries in the late nineteenth century, now deeply embedded within the Basotho ba Lebowa community in Limpopo, South Africa. Through an interdisciplinary approach that blends historical ethnography with practice-led research, this thesis explores the harepa's negotiation of identity amidst the cultural shifts and modernisation affecting the community. The musical output of the harepa showcases a unique hybridity that fuses Basotho ba Lebowa traditions with Western musical influences. The aim of this research is to document the harepa instrument, analyse its music and transformation processes, highlight the musical history of research partners and emphasise the unique tunings which are distinct from Western standards. Employing methodologies that integrate participant observation, ethnographic interviews, and direct musical practice, the research engages with local musicians to understand the contemporary relevance of the harepa and its role in sustaining cultural heritage. It examines shifts in musical practices, the decline of traditional uses of the harepa, and efforts towards its revitalisation, including documenting musical repertoires and analysing performance practices. The findings highlight a complex narrative of enculturation, adaptation, and resistance, revealing the resilience of cultural identity through unique tuning systems that contrast sharply with Western musical paradigms. African tuning practices, characterised by their flexibility and reliance on auditory perception, challenge the adequacy of Western tuning methodologies. This study also investigates the potential of sampling as a method for the sonic representation of African music, advocating for a more culturally sensitive framework that respects the diversity of global musical traditions. By focusing on this localised musical phenomenon, the study illustrates broader cultural preservation and innovation dynamics within Limpopo's Basotho ba Lebowa community. It calls for ongoing dialogue and research to develop methodologies that reflect the unique cultural contexts of musical traditions worldwide. Ultimately, this work underscores the importance of engaged, practice-led research in documenting and revitalising endangered musical cultures in the face of globalisation and cultural homogenisation. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
Liminality and states of being in the contemporary music performances of Goma-Dhamal among Afro-Indian (Siddi) performers in Gujarat, India
- Authors: Kumar, Rakesh
- Date: 2025-04-02
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479596 , vital:78327
- Description: Access restricted. Expected release in 2026. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
- Authors: Kumar, Rakesh
- Date: 2025-04-02
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479596 , vital:78327
- Description: Access restricted. Expected release in 2026. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
Productive piano pedagogy: towards a compositional approach to piano lessons in a South African primary school in Makhanda, Eastern Cape
- Authors: Wynne, Donovan
- Date: 2025-04-02
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479618 , vital:78329 , DOI 10.21504/10962/479618
- Description: Despite global trends towards creative and productive musical learning, there is little available research on how to support music educators’ efforts to adopt productive praxis in piano lessons in primary schools, and none situated in South Africa. This climate of pedagogical innovation makes possible a turn to play-based teaching methods emerging from the global north, which are aligned with African traditions of knowledge transmission in which agentive participation in authentic cultural processes is of greater value than evaluative judgements of ensuant products. The literature advocates the cultivation of music learning ecologies that privilege learner agency through composition, yet practical means of doing so within established conventions of instrumental music tuition in South African primary schools are not provided. This thesis investigates how such an ecology might be cultivated in a primary school in the Eastern Cape, with particular emphasis on how this can be achieved without compromising established pedagogical practises that are oriented toward the attainment of important external benchmarks of musical achievement. A design-based study was conducted in a primary school over the course of 12 months, in which nine young students composed their own music during piano lessons through collaborative activity in which they were afforded a degree of autonomy in their work as they acquired and consolidated knowledge of music through its creation. A play-based teaching intervention was devised, which was iteratively enacted, analysed, and redesigned through three research cycles. This resulted in findings that drove the development of a framework for teaching composition in this context, as well as tangible teaching materials. Results show that this adapted play-based model is an effective vehicle for fostering an agentive music learning ecology in piano lessons in an Eastern Cape primary school and suggest that it is reasonable to expect similar success in comparable school contexts. The insularity of a single school setting limited this research in terms of broader applicability, so further trialling of the proposed framework is recommended in a range of school situations in South Africa and beyond to establish transferability. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
- Full Text:
- Authors: Wynne, Donovan
- Date: 2025-04-02
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/479618 , vital:78329 , DOI 10.21504/10962/479618
- Description: Despite global trends towards creative and productive musical learning, there is little available research on how to support music educators’ efforts to adopt productive praxis in piano lessons in primary schools, and none situated in South Africa. This climate of pedagogical innovation makes possible a turn to play-based teaching methods emerging from the global north, which are aligned with African traditions of knowledge transmission in which agentive participation in authentic cultural processes is of greater value than evaluative judgements of ensuant products. The literature advocates the cultivation of music learning ecologies that privilege learner agency through composition, yet practical means of doing so within established conventions of instrumental music tuition in South African primary schools are not provided. This thesis investigates how such an ecology might be cultivated in a primary school in the Eastern Cape, with particular emphasis on how this can be achieved without compromising established pedagogical practises that are oriented toward the attainment of important external benchmarks of musical achievement. A design-based study was conducted in a primary school over the course of 12 months, in which nine young students composed their own music during piano lessons through collaborative activity in which they were afforded a degree of autonomy in their work as they acquired and consolidated knowledge of music through its creation. A play-based teaching intervention was devised, which was iteratively enacted, analysed, and redesigned through three research cycles. This resulted in findings that drove the development of a framework for teaching composition in this context, as well as tangible teaching materials. Results show that this adapted play-based model is an effective vehicle for fostering an agentive music learning ecology in piano lessons in an Eastern Cape primary school and suggest that it is reasonable to expect similar success in comparable school contexts. The insularity of a single school setting limited this research in terms of broader applicability, so further trialling of the proposed framework is recommended in a range of school situations in South Africa and beyond to establish transferability. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2025
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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:
- 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:
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
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Eastern Cape jazz heritage: the jazz tradition and veteran musicians of East London and Zwelitsha
- Giyose, Thandikile Qhawekazi
- Authors: Giyose, Thandikile Qhawekazi
- Date: 2024-10-11
- Subjects: Jazz musicians South Africa Eastern Cape , Jazz South Africa Eastern Cape , International Library of African Music , Popular-music archives , Collective memory in music , South African jazz
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/465964 , vital:76672
- Description: This thesis explores the memories of musicians and music collectors as evident in the performance of traditional jazz songs in East London and Zwelitsha. I ask, how may research on musicians and their songs develop new knowledge about the aesthetics of jazz in the Eastern Cape and contribute to transforming notions of memories and archives? I argue that these songs are repositories of collective memory about the musical pasts of Eastern Cape modernity. We commemorate cities such as Johannesburg and Cape Town for nurturing South African jazz but what is known of the jazz musicians who remained in the country, and those musicians whose musicality was nurtured in the Eastern Cape? Where are the stories of their musical journeys and compositions located? How did these musicians contribute to the development of a form of South African jazz, which now represents and forms a large part of our heritage and our various identities as musicians, fans and performers in South Africa? In-depth and semi-structured interviews were conducted with veteran jazz musicians, jazz music collectors and members of the younger generation of jazz musicians who are originally from or reside in East London and Zwelitsha, Eastern Cape. The research follows a qualitative methodology, using an exploratory case study with a focused ethnographic approach, to understand how these musicians’ songs have retained memories of their lived experiences. The research is derived from oral histories of musicians to understand how the songs survive in the collective memory of musicians and their fans, contributing to the preservation of Eastern Cape’s jazz heritage. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Authors: Giyose, Thandikile Qhawekazi
- Date: 2024-10-11
- Subjects: Jazz musicians South Africa Eastern Cape , Jazz South Africa Eastern Cape , International Library of African Music , Popular-music archives , Collective memory in music , South African jazz
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/465964 , vital:76672
- Description: This thesis explores the memories of musicians and music collectors as evident in the performance of traditional jazz songs in East London and Zwelitsha. I ask, how may research on musicians and their songs develop new knowledge about the aesthetics of jazz in the Eastern Cape and contribute to transforming notions of memories and archives? I argue that these songs are repositories of collective memory about the musical pasts of Eastern Cape modernity. We commemorate cities such as Johannesburg and Cape Town for nurturing South African jazz but what is known of the jazz musicians who remained in the country, and those musicians whose musicality was nurtured in the Eastern Cape? Where are the stories of their musical journeys and compositions located? How did these musicians contribute to the development of a form of South African jazz, which now represents and forms a large part of our heritage and our various identities as musicians, fans and performers in South Africa? In-depth and semi-structured interviews were conducted with veteran jazz musicians, jazz music collectors and members of the younger generation of jazz musicians who are originally from or reside in East London and Zwelitsha, Eastern Cape. The research follows a qualitative methodology, using an exploratory case study with a focused ethnographic approach, to understand how these musicians’ songs have retained memories of their lived experiences. The research is derived from oral histories of musicians to understand how the songs survive in the collective memory of musicians and their fans, contributing to the preservation of Eastern Cape’s jazz heritage. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
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Figuring the black femme fatale: analysing black womanhood in U-Carmen eKhayelitsha
- Waters-Maine, Leigh Nomfundo Fortunate
- Authors: Waters-Maine, Leigh Nomfundo Fortunate
- Date: 2024-10-11
- Subjects: U-Carmen eKhayelitsha , Opera , Black people in opera , Women, Black , Motherhood and the arts , Music South Africa 1994-
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466117 , vital:76687
- Description: In this thesis, I investigate black womanhood in U-Carmen eKhayelitsha, a post-apartheid film opera. The aim of this research is to examine the representation of black women in this film opera, focusing largely on the lead character, U-Carmen. This thesis is driven by a form of intersectional feminism which is characterised by overlapping categories such as race, gender, class and sexual orientation (Crenshaw 1989). A growing number of scholars have written about the rise of South African operas (Roos 2012; André 2016; Gerber 2021) but have seldom focused on the multi-layered representation of black women, which is what this thesis aims to do. In reading this work, I argue that U-Carmen eKhayelitsa foregrounds U-Carmen as a black woman with a storyline that rejects essentialists portrayals of black women on opera stages. The film opera, I argue, figures a complex womanhood represented in voice, labour, motherhood, and death. It not only recognizes the marginalised, but it also offers a change to the perception of the gendering of the black female body. In this thesis, I employ textual analysis to consider the historical contexts of U-Carmen alongside its contemporary resonances and analyse the main female character in the opera and how she can enforce or change the narrative of the role of women in opera. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Authors: Waters-Maine, Leigh Nomfundo Fortunate
- Date: 2024-10-11
- Subjects: U-Carmen eKhayelitsha , Opera , Black people in opera , Women, Black , Motherhood and the arts , Music South Africa 1994-
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466117 , vital:76687
- Description: In this thesis, I investigate black womanhood in U-Carmen eKhayelitsha, a post-apartheid film opera. The aim of this research is to examine the representation of black women in this film opera, focusing largely on the lead character, U-Carmen. This thesis is driven by a form of intersectional feminism which is characterised by overlapping categories such as race, gender, class and sexual orientation (Crenshaw 1989). A growing number of scholars have written about the rise of South African operas (Roos 2012; André 2016; Gerber 2021) but have seldom focused on the multi-layered representation of black women, which is what this thesis aims to do. In reading this work, I argue that U-Carmen eKhayelitsa foregrounds U-Carmen as a black woman with a storyline that rejects essentialists portrayals of black women on opera stages. The film opera, I argue, figures a complex womanhood represented in voice, labour, motherhood, and death. It not only recognizes the marginalised, but it also offers a change to the perception of the gendering of the black female body. In this thesis, I employ textual analysis to consider the historical contexts of U-Carmen alongside its contemporary resonances and analyse the main female character in the opera and how she can enforce or change the narrative of the role of women in opera. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
Singing pretty: investigating female respectability in classical vocal performance in South Africa
- Authors: Van der Walt, Alida
- Date: 2024-10-11
- Subjects: Respectability politics , Integrity , Classical music , Opera South Africa , Sex discrimination against women , Intersectionality (Sociology) , Women singers South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466102 , vital:76685
- Description: In this thesis, I consider respectability in classical vocal performance in South Africa by presenting research on six women who hold prominent positions in this field intertwined with my own experiences in this arena. I introduce the context and background to my research across the fields of respectability politics, music studies, and intersectionality before investigating two main modes of gendered bodily respectability that featured in my singer-participants’ lives. These include first extra-bodily technologies in service of respectability, referring to anything that a singer may externally and visibly apply (on)to her body to enhance its physical appeal in specific ways, in line with respectability’s requirements. In thinking through the notion of extra-bodily technologies, I outline via cyborg theory how this first mode of respectability policing operates as an intersectionally oppressive force in my own and my singer-participants’ lives. The second form of bodily discipline emerges in what I call intra-bodily markers of respectability. In developing this term, I demonstrate, based on my singer-participants’ experiences and my own, how the policing of intra-bodily respectability markers may shift our understanding of identity performativity from the discursive realm into the physical. In doing so, I think critically about the importance of language in respectability’s shaping of women’s realities. With little subversive potential found in these themes, I explore the theme of play as a subversive strategy employed by the singers in my study, contrasting the playful subversion with my own mode of ‘serious’ rebellion. Play, with its ambiguous nature rooted in theories of psychology and self-realization, becomes a fundamental aspect of human development, allowing individuals to explore their capabilities and confront societal limitations. I explore the gendered aspects of subversive play in various arenas such as physical appearance, sexuality, musicianship, race, and class, emphasizing and questioning its potential as a political action within the constraints of societal structures. The final part of the thesis explores my own experiences of embodied unbecoming from respectability’s oppressions through vocal performance. Here, I tie together the three strands presented in the body of this thesis through my singing, transgressing body in reference to what I call a feminist musicianship practice as a way of singing beyond respectability. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Authors: Van der Walt, Alida
- Date: 2024-10-11
- Subjects: Respectability politics , Integrity , Classical music , Opera South Africa , Sex discrimination against women , Intersectionality (Sociology) , Women singers South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/466102 , vital:76685
- Description: In this thesis, I consider respectability in classical vocal performance in South Africa by presenting research on six women who hold prominent positions in this field intertwined with my own experiences in this arena. I introduce the context and background to my research across the fields of respectability politics, music studies, and intersectionality before investigating two main modes of gendered bodily respectability that featured in my singer-participants’ lives. These include first extra-bodily technologies in service of respectability, referring to anything that a singer may externally and visibly apply (on)to her body to enhance its physical appeal in specific ways, in line with respectability’s requirements. In thinking through the notion of extra-bodily technologies, I outline via cyborg theory how this first mode of respectability policing operates as an intersectionally oppressive force in my own and my singer-participants’ lives. The second form of bodily discipline emerges in what I call intra-bodily markers of respectability. In developing this term, I demonstrate, based on my singer-participants’ experiences and my own, how the policing of intra-bodily respectability markers may shift our understanding of identity performativity from the discursive realm into the physical. In doing so, I think critically about the importance of language in respectability’s shaping of women’s realities. With little subversive potential found in these themes, I explore the theme of play as a subversive strategy employed by the singers in my study, contrasting the playful subversion with my own mode of ‘serious’ rebellion. Play, with its ambiguous nature rooted in theories of psychology and self-realization, becomes a fundamental aspect of human development, allowing individuals to explore their capabilities and confront societal limitations. I explore the gendered aspects of subversive play in various arenas such as physical appearance, sexuality, musicianship, race, and class, emphasizing and questioning its potential as a political action within the constraints of societal structures. The final part of the thesis explores my own experiences of embodied unbecoming from respectability’s oppressions through vocal performance. Here, I tie together the three strands presented in the body of this thesis through my singing, transgressing body in reference to what I call a feminist musicianship practice as a way of singing beyond respectability. , Thesis (MA) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
Short Composition Portfolio
- Authors: Mavuso, Bonelela Lindelani
- Date: 2024-04-03
- Subjects: Composition (Music) , Jazz composition , Jazz South Africa , Music of Eswatini
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/434778 , vital:73104
- Description: Short Composition Portfolio (60% performance/40%short-compositionportfolio). , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Authors: Mavuso, Bonelela Lindelani
- Date: 2024-04-03
- Subjects: Composition (Music) , Jazz composition , Jazz South Africa , Music of Eswatini
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/434778 , vital:73104
- Description: Short Composition Portfolio (60% performance/40%short-compositionportfolio). , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
Tradition and change in the Imfene dance of the amaMpondo in the Ntabankulu district of the Eastern Cape province
- Authors: Mtsini, Nontuthuzelo
- Date: 2024-04-03
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/434791 , vital:73105
- Description: Access restricted. Expected release 2025. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
- Authors: Mtsini, Nontuthuzelo
- Date: 2024-04-03
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/434791 , vital:73105
- Description: Access restricted. Expected release 2025. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2024
- Full Text:
Beyond mastery: jazz, gender and power in postapartheid South Africa
- Authors: Williams, Ulagh
- Date: 2023-10-13
- Subjects: Feminist theory , Women jazz musicians South Africa , Music Instruction and study , Interpretative phenomenological analysis , Control (Psychology) , Male domination (Social structure)
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432505 , vital:72876 , DOI 10.21504/10962/432512
- Description: This dissertation studies the musical lives of seven South African women who have built highprofile national and international careers as jazz musicians. Empirically it records self-reported experiences and actions that they have identified as relevant to their success within a notoriously patriarchal field. Drawing on feminist research methods and Interpretative Phenomenological Analysis the dissertation strives to develop an empathic yet critical epistemological framework attuned to the complexities of their lived experiences as women and as jazz musicians. Theoretically it investigates the power relations at play in the myriad ways they negotiate or have been impelled to negotiate gender and patriarchy as musicians. Chapter one draws attention to the ubiquity of patriarchy in South African and international jazz culture, and highlights the research participants’ numerous successes to date as performers, educators, composers, and bandleaders. Chapter two positions this study in relation to cognate work in South African jazz studies, international feminist jazz studies and feminist phenomenology. Chapters three to five successively consider the participants’ early enculturation as musical and gendered subjects, their agentic responses to structures of patriarchy and/or race as emerging and established professionals, and the ways these experiences have found expression in some of their musical utterances as performers and composers. Fusing art and activism, the participants challenge and transcend masculinist discourses of mastery that still dominate South African jazz as a field of production and aesthetic practice. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Authors: Williams, Ulagh
- Date: 2023-10-13
- Subjects: Feminist theory , Women jazz musicians South Africa , Music Instruction and study , Interpretative phenomenological analysis , Control (Psychology) , Male domination (Social structure)
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432505 , vital:72876 , DOI 10.21504/10962/432512
- Description: This dissertation studies the musical lives of seven South African women who have built highprofile national and international careers as jazz musicians. Empirically it records self-reported experiences and actions that they have identified as relevant to their success within a notoriously patriarchal field. Drawing on feminist research methods and Interpretative Phenomenological Analysis the dissertation strives to develop an empathic yet critical epistemological framework attuned to the complexities of their lived experiences as women and as jazz musicians. Theoretically it investigates the power relations at play in the myriad ways they negotiate or have been impelled to negotiate gender and patriarchy as musicians. Chapter one draws attention to the ubiquity of patriarchy in South African and international jazz culture, and highlights the research participants’ numerous successes to date as performers, educators, composers, and bandleaders. Chapter two positions this study in relation to cognate work in South African jazz studies, international feminist jazz studies and feminist phenomenology. Chapters three to five successively consider the participants’ early enculturation as musical and gendered subjects, their agentic responses to structures of patriarchy and/or race as emerging and established professionals, and the ways these experiences have found expression in some of their musical utterances as performers and composers. Fusing art and activism, the participants challenge and transcend masculinist discourses of mastery that still dominate South African jazz as a field of production and aesthetic practice. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
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:
- 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:
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:
- 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:
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:
The use of creative-arts therapies in treating trauma-related mental health conditions in South Africa: perspectives from three practising creative-arts therapists
- Makube, Tshegofatso Bennia Basetsana
- Authors: Makube, Tshegofatso Bennia Basetsana
- Date: 2023-10-13
- Subjects: Arts Therapeutic use , Mental health South Africa , Mental health services South Africa , Health services accessibility South Africa , Psychological trauma , Stigma (Social psychology) , Mental illness Social aspects South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425399 , vital:72235
- Description: Multiple factors contribute to the prevailing mental health conditions of South Africans. According to Kaminer and Eagle (2010, p.8), 75% of South Africans are trauma survivors, half of whom have experienced multiple traumas, some directly and some indirectly. However, many trauma survivors are not adequately treated due to the limited access and availability of mental health specialists in the country. Thus, mainstream medical treatments ought to be supplemented by alternative forms of therapy such as creative-arts therapy that cater to the wide demographic range of citizens in South Africa. This research aims to explore the efficacy of creative-arts therapies as a treatment for trauma-related mental health conditions in South Africa from the perspectives of three practising creative-arts therapists. The research is a qualitative study and uses Interpretive Phenomenological Analysis (IPA) to interpret the data. The research participants consisted of three accredited creative-art therapists practising in Music, Art, and Dance. The participants were interviewed using semi-structured, in-depth interviews which were conducted online. The interview data was transcribed and analysed using the IPA framework provided by Smith, Flowers and Larkin (2009). The results yielded three superordinate themes which were supported by eight subordinate themes. The results suggest that creative-arts therapies are underutilized in South Africa due to a lack of public awareness and general (mis)perceptions about mental health conditions. Furthermore, access to these therapies in formal settings is limited as they are not offered as treatment options in public health facilities, which negatively impacts the viability of creative-arts therapies practice in the country. Creative-arts therapies offer several unique benefits to individuals of all ages, backgrounds and abilities as they do not require prior artistic knowledge or experience to participate in treatment. In addition, they are non-verbal which helps to bridge the language and cultural barriers that often arise as a result of South Africa’s diverse cultural population. Finally, creative-arts therapies are an effective method of treating mental health conditions incurred through trauma as they focus on accessing stored trauma in the body or unconscious mind through a natural and non-judgemental platform of creative expression. As a result, they address the physical, emotional, psychological, and cognitive effects of trauma while empowering the individual. In conclusion, this research suggests that creative-arts therapies are highly effective in the treatment of trauma-related mental health conditions, particularly in a country like South Africa which experiences high incidents of trauma. They should be better integrated into public health care facilities so that they are accessible to the general public. This will result in an increase in the use of creative-arts therapies as a treatment option for mental health conditions, particularly those related to trauma. It would also help to address the limited awareness and poor perceptions of the nature of mental health, mental illness, mental health care and mental health care services. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Authors: Makube, Tshegofatso Bennia Basetsana
- Date: 2023-10-13
- Subjects: Arts Therapeutic use , Mental health South Africa , Mental health services South Africa , Health services accessibility South Africa , Psychological trauma , Stigma (Social psychology) , Mental illness Social aspects South Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/425399 , vital:72235
- Description: Multiple factors contribute to the prevailing mental health conditions of South Africans. According to Kaminer and Eagle (2010, p.8), 75% of South Africans are trauma survivors, half of whom have experienced multiple traumas, some directly and some indirectly. However, many trauma survivors are not adequately treated due to the limited access and availability of mental health specialists in the country. Thus, mainstream medical treatments ought to be supplemented by alternative forms of therapy such as creative-arts therapy that cater to the wide demographic range of citizens in South Africa. This research aims to explore the efficacy of creative-arts therapies as a treatment for trauma-related mental health conditions in South Africa from the perspectives of three practising creative-arts therapists. The research is a qualitative study and uses Interpretive Phenomenological Analysis (IPA) to interpret the data. The research participants consisted of three accredited creative-art therapists practising in Music, Art, and Dance. The participants were interviewed using semi-structured, in-depth interviews which were conducted online. The interview data was transcribed and analysed using the IPA framework provided by Smith, Flowers and Larkin (2009). The results yielded three superordinate themes which were supported by eight subordinate themes. The results suggest that creative-arts therapies are underutilized in South Africa due to a lack of public awareness and general (mis)perceptions about mental health conditions. Furthermore, access to these therapies in formal settings is limited as they are not offered as treatment options in public health facilities, which negatively impacts the viability of creative-arts therapies practice in the country. Creative-arts therapies offer several unique benefits to individuals of all ages, backgrounds and abilities as they do not require prior artistic knowledge or experience to participate in treatment. In addition, they are non-verbal which helps to bridge the language and cultural barriers that often arise as a result of South Africa’s diverse cultural population. Finally, creative-arts therapies are an effective method of treating mental health conditions incurred through trauma as they focus on accessing stored trauma in the body or unconscious mind through a natural and non-judgemental platform of creative expression. As a result, they address the physical, emotional, psychological, and cognitive effects of trauma while empowering the individual. In conclusion, this research suggests that creative-arts therapies are highly effective in the treatment of trauma-related mental health conditions, particularly in a country like South Africa which experiences high incidents of trauma. They should be better integrated into public health care facilities so that they are accessible to the general public. This will result in an increase in the use of creative-arts therapies as a treatment option for mental health conditions, particularly those related to trauma. It would also help to address the limited awareness and poor perceptions of the nature of mental health, mental illness, mental health care and mental health care services. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
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Vernacular sound technologies: experimenting with reverb in isiXhosa choral recordings
- Authors: Ncanywa, Sibusiso
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/432147 , vital:72846
- Description: Access restricted. Expected release date 2025. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
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- Authors: Ncanywa, Sibusiso
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/432147 , vital:72846
- Description: Access restricted. Expected release date 2025. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2023
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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
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- 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
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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
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- 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
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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
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- 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: