Composition portfolio
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
Techniques of Xhosa music: a study based on the music of the Lumko district
- Authors: Dargie, David John
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
- Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
- Full Text:
- Date Issued: 1987
- Authors: Dargie, David John
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Lumko district , Eastern Cape (South Africa) , Xhosa music , Musicology , AbaThembu , Ntsikana , Songs , Musical bows , Overtone singing
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2630 , http://hdl.handle.net/10962/d1001975
- Description: Part 1.Thesis: Chapter 1: The people of the Lumko district (the villages of Ngqoko and Sikhwankqeni) are AbaThembu, mostly of the Gcina clan cluster. Their history has caused them to be linked with (now vanished) San peoples in special ways, which have undoubtedly influenced their music. Chapter 2: The music of these people is centred around their religious and social life. This affects the way they classify their songs; and song classifications (and the way songs are used) affect their performance, in particular, the dance styles associated with the song classes. Chapter 3: A variety of musical instruments is used in the Lumko district, the most important being the musical bows. Once again, the use of these bows gives an insight into the musical influences that have affected the people historically. The ways the bows work are described, as well as ways to play them. Chapter 4: Overtone singing, not previously documented anywhere in traditional African music, is practised in certain ways by these AmaGcina. These, and other vocal techniques, are described. Chapter 5: From the terminology and the methods of conceptualisation about music in the Lumko district, it is possible to gain an insight into a truly Xhosa technical understanding of Xhosa music. Once again a historical insight is gained, because so many of the important terms are KhoiSan words. Chapter 6: A Western technological (i. e. musicological) understanding of the music is also necessary in a study of this nature. This chapter applies musicological concepts to an examination of the relationship between speech and song, of the usages in melody and scale, harmony theory, rhythm, polyphony, song form, instrumental roles and methods of performance. Chapter 7: This is the conclusion of the thesis. It sums up what has been studied: musical techniques, principles, the importance of Ntsikana 's song as a basis for musical comparisons, and the import of the historical aspects of the study - a possible glimpse of the music of the San. PART 2. MUSIC TRANSCRIPTIONS AND DESCRIPTIONS. The transcriptions of 62 songs provide the material for this study. The songs were chosen to represent all the major song classes used in the Lumko district, and to represent all the important music techniques as well. The songs are in fifteen categories. Each song is accompanied by its technical details, and sufficient commentary to make the song transcription intelligible and meaningful. Certain key songs are chosen as type-songs or other special examples, and are used as the bases for discussion on song style characteristics, principles of performance, bow adaptation, and so on. A general Introduction to Part 2 describes and accounts for the method of transcription, and also attempts to make it possible for the score reader not only to analyse, but also to perform the songs. In a further attempt to bring the transcriptions to life, a video recording of certain key songs and techniques, and audio tapes with examples taken from all the songs, accompany this study
- Full Text:
- Date Issued: 1987
From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts
- Authors: Dlepu, Siziwe Everrette
- Date: 2009
- Subjects: Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8460 , http://hdl.handle.net/10948/943 , Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Description: Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
- Full Text:
- Date Issued: 2009
From song to literary texts : a study of the influence of isiXhosa lyrics on selected isiXhosa texts
- Authors: Dlepu, Siziwe Everrette
- Date: 2009
- Subjects: Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: vital:8460 , http://hdl.handle.net/10948/943 , Xhosa (African people) -- Songs and music -- Texts , Folk songs, Xhosa -- South Africa , Xhosa (African people) -- Music , Xhosa -- Music
- Description: Songs play a vital role in the everyday life of the AmaXhosa. Each and every occasion or gathering is accompanied by singing. Their anger or pain, sorrow or joy is reflected in their singing. Although these songs are composed for social purposes and entertainment, they are also educational. Songs may be composed and sung to comment on political affairs, complain against the abuse of power by the authorities, declare war, protest, praise a hero, encourage working together and ridicule the foolishness of someone. Vocabulary and diction used in the composition of these songs, relays the message in a clever and witty style. Since the AmaXhosa are intellectuals, irony and satire are used. The satirical or ironical songs hide the meaning and the listener must unravel the real meaning. AmaXhosa singing, chanting and dancing is accompanied by instruments. These instruments add more rhythm to the dance.The AmaXhosa use anything at their disposal when carving their instruments. Their songs may be accompanied by the beating of cow-hide drums, blowing of reed-pipe whistles, animal horns, beating of sticks and hand-clapping. The most important instrument the AmaXhosa use is the human voice. They are experts in humming, gruff singing and whistling. The songs of the AmaXhosa encourage togetherness. When one composes a song, one does not express one’s own feelings, but also the feelings of the community. The AmaXhosa songs are about participation so group singing and dancing is encouraged. Everyone participates either by singing, dancing or clapping. x Respect is the central core of the AmaXhosa songs. That is why the songs are composed according to age groups and sex. Instruments are also used according to ages and sex. Written texts are also a tool to educate the reader. The writers have decided to include songs in their writings to act as a form of entertainment and education. Although some songs lack the hallmarks of a traditional song, they communicate the idea or relay the message the writer wants to convey to the reader. Terms: Mock enconuim, the grotesque and the principle of beautiful deformity, anaphoric construction, diction and connotation, authorial comments, the mask-persona form, usurping of authority and reduction of traditional status.
- Full Text:
- Date Issued: 2009
The role of popular and traditional music during the umgidi initiation ceremonies among the Amampondo: subtitle if needed. If no subtitle follow instructions in manual
- Authors: Gushu, Lindokuhle
- Date: 2024-04
- Subjects: Xhosa (African people) -- Music , Folk music -- Social aspects -- South Africa -- Eastern Cape , Xhosa (African people) -- Rites and ceremonies , Popular music -- South Africa -- Eastern Cape
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/62805 , vital:72962
- Description: This study investigates the intricate dynamics of music within the umgidi initiation ceremonies among the amaMpondo, focusing on the interplay between traditional and modern popular music. The study explores the cultural foundation of the umgidi ceremony, emphasising its transformative significance and the evolving influence of modern popular music, particularly among the youth. A comprehensive literature review follows, contextualising the amaMpondo, their cultural practices, and the complex relationship between traditional and popular music in the broader South African music scene. The study adopted a qualitative ethnographic approach, including participant observation and individual interviews, to explore the impact of modern popular music on traditional elements during umgidi initiation ceremonies. Thematic analysis was employed for data interpretation, ensuring a systematic exploration of patterns and meanings. Ethical considerations were meticulously addressed, emphasising protecting participants' rights and cultural sensitivity. The study's findings highlighted the multifaceted roles of music during umgidi initiation ceremonies. Music is a powerful medium for cultural expression, communication, and communal celebration. The call-and-response format, rhythm variations, and the influence of modern genres such as Gqom and Amapiano were explored. Community attitudes toward integrating modern popular music reveal diverse opinions, ranging from full embrace to resistance. In summary, this study contributes to understanding the evolving dynamics of music in umgidi initiation ceremonies among the amaMpondo. The study provides a nuanced exploration and a roadmap for future research, community engagement, and policy considerations by combining cultural insights, literature review, methodological rigour, and community perspectives. , Thesis (MMus) -- Faculty of Humanities, School of Visual and Performing Arts, 2023
- Full Text:
- Date Issued: 2024-04
- Authors: Gushu, Lindokuhle
- Date: 2024-04
- Subjects: Xhosa (African people) -- Music , Folk music -- Social aspects -- South Africa -- Eastern Cape , Xhosa (African people) -- Rites and ceremonies , Popular music -- South Africa -- Eastern Cape
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/62805 , vital:72962
- Description: This study investigates the intricate dynamics of music within the umgidi initiation ceremonies among the amaMpondo, focusing on the interplay between traditional and modern popular music. The study explores the cultural foundation of the umgidi ceremony, emphasising its transformative significance and the evolving influence of modern popular music, particularly among the youth. A comprehensive literature review follows, contextualising the amaMpondo, their cultural practices, and the complex relationship between traditional and popular music in the broader South African music scene. The study adopted a qualitative ethnographic approach, including participant observation and individual interviews, to explore the impact of modern popular music on traditional elements during umgidi initiation ceremonies. Thematic analysis was employed for data interpretation, ensuring a systematic exploration of patterns and meanings. Ethical considerations were meticulously addressed, emphasising protecting participants' rights and cultural sensitivity. The study's findings highlighted the multifaceted roles of music during umgidi initiation ceremonies. Music is a powerful medium for cultural expression, communication, and communal celebration. The call-and-response format, rhythm variations, and the influence of modern genres such as Gqom and Amapiano were explored. Community attitudes toward integrating modern popular music reveal diverse opinions, ranging from full embrace to resistance. In summary, this study contributes to understanding the evolving dynamics of music in umgidi initiation ceremonies among the amaMpondo. The study provides a nuanced exploration and a roadmap for future research, community engagement, and policy considerations by combining cultural insights, literature review, methodological rigour, and community perspectives. , Thesis (MMus) -- Faculty of Humanities, School of Visual and Performing Arts, 2023
- Full Text:
- Date Issued: 2024-04
The life and work of Benjamin Tyamzashe: a contemporary Xhosa composer
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Xhosa (African people) -- Music , Hymns, Xhosa , Tyamzashe, Benjamin John Peter (1890-1978) , Composers, Black -- South Africa
- Language: English , Xhosa
- Type: Book
- Identifier: vital:550 , http://hdl.handle.net/10962/d1020214
- Description: The present paper is a digest of the thesis submitted under the same title, by Miss Deirdre Hansen for the Degree of Master of Music of Rhodes University in 1968. This work includes a large number of musical illustrations, which illuminate in detail many aspects of the works of Benjamin Tyamzashe. The section containing these has been reduced to its essentials, but what is here given should enable the reader to understand the manner in which Tyamzashe's ability as a composer has developed, and to give him his rightful place among his contemporaries. , Digitised by Rhodes University Library on behalf of the Institute of Social and Economic Research (ISER)
- Full Text:
- Date Issued: 1968
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Xhosa (African people) -- Music , Hymns, Xhosa , Tyamzashe, Benjamin John Peter (1890-1978) , Composers, Black -- South Africa
- Language: English , Xhosa
- Type: Book
- Identifier: vital:550 , http://hdl.handle.net/10962/d1020214
- Description: The present paper is a digest of the thesis submitted under the same title, by Miss Deirdre Hansen for the Degree of Master of Music of Rhodes University in 1968. This work includes a large number of musical illustrations, which illuminate in detail many aspects of the works of Benjamin Tyamzashe. The section containing these has been reduced to its essentials, but what is here given should enable the reader to understand the manner in which Tyamzashe's ability as a composer has developed, and to give him his rightful place among his contemporaries. , Digitised by Rhodes University Library on behalf of the Institute of Social and Economic Research (ISER)
- Full Text:
- Date Issued: 1968
Repatriating Xhosa music recordings archived at the International Library of African Music (ILAM) and reviving interest in traditional Xhosa music among the youth in Grahamstown
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
- Authors: Madiba, Elijah Moleseng
- Date: 2019
- Subjects: International Library of African Music , Xhosa (African people) -- Music , Sound recordings in ethnomusicology -- South Africa , Ethnomusicology -- South Africa -- Makhanda , Cultural property -- Repatriation -- South Africa -- Makhanda , Rap musicians -- South Africa -- Makhanda
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/76599 , vital:30611
- Description: This research looks at the feasibility of using repatriation as a tool for the revitalisation of indigenous music within a contemporary South African musical context. Using tracks from the International Library of African Music (ILAM), this investigation presents isiXhosa traditional and indigenous music to a group of musicians from a hip-hop background that would never have had access to this type of music before. The thesis then traces their creative use of the music within their own genres. Speaking to the legacy of the Hugh Tracey collection at ILAM and criticisms that have surfaced, this research also attempts to validate the efforts made by Hugh Tracey in collecting and documenting African music. Themes ranging from understanding the term “tradition” are addressed, as well as other technical terms in the vernacular while also exploring and analysing the results of the repatriation project. Practical issues regarding the sampling of indigenous music were interrogated carefully due to the fact that the complexity of African music was foreign to most of the participants. Their familiarity with the music, or lack thereof, either motivated or ended the musicians’ participation in the research project. An in-depth analysis of the results of the musicians’ interaction with the music is presented where this study finds, at the heart of this research, that the musicians performed as agents who easily took to revitalising the music.
- Full Text:
- Date Issued: 2019
Abamlobo bam
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99454 , vital:31703 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC079a-17
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99454 , vital:31703 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC079a-17
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Sad day
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100347 , vital:31816 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC081b-08
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100347 , vital:31816 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC081b-08
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Good night everybody
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100086 , vital:31787 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC080b-21
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100086 , vital:31787 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC080b-21
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Jingo little dog
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100329 , vital:31814 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC081b-06
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100329 , vital:31814 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC081b-06
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Musan' ukulala
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Whistling music , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/98984 , vital:31651 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC078a-05
- Description: Topical song with guitar accompaniment
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Whistling music , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/98984 , vital:31651 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC078a-05
- Description: Topical song with guitar accompaniment
- Full Text: false
- Date Issued: 1987
Wena Nonceba
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99811 , vital:31756 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC080a-11
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99811 , vital:31756 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC080a-11
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
We are the kings of music down here in the Cape
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Dance song , Bass guitar , Drum , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/107378 , vital:32808 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC105b-03
- Description: Dance song accompanied by bass guitar and drum
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Dance song , Bass guitar , Drum , Sub-Saharan African music , Africa South Africa Grahamstown f-sa
- Language: English
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/107378 , vital:32808 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC105b-03
- Description: Dance song accompanied by bass guitar and drum
- Full Text: false
- Date Issued: 1987
Umntu ngamye unesiphiwo
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100015 , vital:31779 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC080b-13
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100015 , vital:31779 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC080b-13
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Sukuncama
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99436 , vital:31701 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC079a-15
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99436 , vital:31701 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC079a-15
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Akayilobolanga
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100665 , vital:31870 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC082b-06
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100665 , vital:31870 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC082b-06
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Isizwe sakowethu
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99549 , vital:31718 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC079b-08
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99549 , vital:31718 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC079b-08
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Ndiyeke mama
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100197 , vital:31800 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC081a-11
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100197 , vital:31800 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC081a-11
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Nyakonzima
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100487 , vital:31834 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC082a-08
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/100487 , vital:31834 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC082a-08
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
Utywala
- Monwabisi Gladstone Sabani, Tracey, Andrew T N
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99243 , vital:31680 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC078b-14
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987
- Authors: Monwabisi Gladstone Sabani , Tracey, Andrew T N
- Date: 1987
- Subjects: Xhosa (African people) -- Music , Folk music -- South Africa , Topical songs , Guitar , Sub-Saharan African music , Africa South Africa Grahamstown f-za
- Language: Xhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/99243 , vital:31680 , International Library of African Music, Rhodes University, Grahamstown, South Africa , ATC078b-14
- Description: Instrumental music
- Full Text: false
- Date Issued: 1987