An exploratory study of South African choral identity with specific reference to three regional children's choirs
- Authors: Swart, Jan-Erik
- Date: 2012
- Subjects: Children's choirs , Cultural pluralism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
- Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
- Full Text:
- Date Issued: 2012
- Authors: Swart, Jan-Erik
- Date: 2012
- Subjects: Children's choirs , Cultural pluralism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8519 , http://hdl.handle.net/10948/d1013205
- Description: This qualitative mini-treatise explores how South African choral identity is perceived by three regional children’s choirs, facing challenges of representing cultural diversity against the background of an ongoing process of social transformation. The study proposes that choirs from South Africa project a distinctly South African “choral” identity which they themselves have constructed by fabricating a mental representation of themselves, and which they project outwardly by means of a range of musical and extra-musical elements observable in the cultural product and artifacts generated over time. The researcher has analyzed a selection of cultural products and artifacts of the Eastern Cape Children’s Choir, the Cantare Children’s Choir and the Tygerberg Children’s Choir, in order to identify common practices among three subject choirs which sustain their continuity, in terms of Richard’s definition of identity (in Torres 2008: 3): “to name a set of practices which subjects may adopt in sustaining both the individual and, to varying degrees, collective continuity”. Research findings indicate that subject choirs are perceived, and project their choral identities, according to their musical ability to communicate and interact with other world-class choirs. Recurring practices undertaken by each subject choir, in order to maintain their international perspective, are identified as key to sustaining their continuity. Choral identity is furthermore strongly influenced by the choral tradition of the choir and the role of the conductor in developing their choral tone. This study is significant to regional children’s choirs seeking to overcome challenges of renegotiating cultural identity, as well as sustaining and expanding choral singing as an art form in South Africa.
- Full Text:
- Date Issued: 2012
A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir
- Authors: Van Zyl, Lionel
- Date: 2006
- Subjects: Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8513 , http://hdl.handle.net/10948/634 , Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Description: This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
- Full Text:
- Date Issued: 2006
- Authors: Van Zyl, Lionel
- Date: 2006
- Subjects: Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8513 , http://hdl.handle.net/10948/634 , Choral singing Studies and exercises , Choral singing -- Instruction and study , Music rehearsals
- Description: This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.
- Full Text:
- Date Issued: 2006
Constructing a web of culture: the case of akKOORd, an Overberg community choir
- Authors: Jacobs, Sunell Human
- Date: 2010
- Subjects: Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8506 , http://hdl.handle.net/10948/1254 , Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Description: akKOORd, a community choir in the relatively small southern region of the Overberg, was formed in 2006, and although the choir has only a brief history, its spirit, activities, and concerts have inspired and touched many people. This qualitative study pays attention to aspects of the choir’s history, its performance practice and of the “web” of community members connected to and involved in its activities. Through interviews and personal notes this in-depth study provides a “micronarrative” of this choir within the “web” of the Overberg community itself. It aims to not only interpret this narrative with regard to the meaning behind actions and their symbolic importance in society, but also to explore its relevance in the broader context of current South African cultural discourse. During this research it became evident that policy makers and potential funders regard this predominantly white choir with its Western repertoire as a form of undesirable exclusivity and elitism. This study opposes such a point of view, contending instead that elitism in the form of excellence has the power to defy barriers of social standing and ethnicity, and to unite people through a collective sense of ownership.
- Full Text:
- Date Issued: 2010
- Authors: Jacobs, Sunell Human
- Date: 2010
- Subjects: Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8506 , http://hdl.handle.net/10948/1254 , Choral music -- South Africa -- Overberg , Choirs (Music) , Overberg (South Africa) -- History , City and town life -- Social aspects
- Description: akKOORd, a community choir in the relatively small southern region of the Overberg, was formed in 2006, and although the choir has only a brief history, its spirit, activities, and concerts have inspired and touched many people. This qualitative study pays attention to aspects of the choir’s history, its performance practice and of the “web” of community members connected to and involved in its activities. Through interviews and personal notes this in-depth study provides a “micronarrative” of this choir within the “web” of the Overberg community itself. It aims to not only interpret this narrative with regard to the meaning behind actions and their symbolic importance in society, but also to explore its relevance in the broader context of current South African cultural discourse. During this research it became evident that policy makers and potential funders regard this predominantly white choir with its Western repertoire as a form of undesirable exclusivity and elitism. This study opposes such a point of view, contending instead that elitism in the form of excellence has the power to defy barriers of social standing and ethnicity, and to unite people through a collective sense of ownership.
- Full Text:
- Date Issued: 2010
From physics to music: an analysis of the role of overtones in the improvement of choral tone
- Authors: Starker, Leonard Bonn
- Date: 2011
- Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
- Full Text:
- Date Issued: 2011
- Authors: Starker, Leonard Bonn
- Date: 2011
- Subjects: Choral singing , Choral singing -- Intonation , Choral singing -- Instruction and study , Voice culture
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8518 , http://hdl.handle.net/10948/d1012937
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir‟s intonation.
- Full Text:
- Date Issued: 2011
From physics to music: an analysis of the role of overtones in the improvement of choral tone
- Authors: Starker, Leonard Bonn
- Date: 2011
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8502 , http://hdl.handle.net/10948/1650
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
- Full Text:
- Date Issued: 2011
- Authors: Starker, Leonard Bonn
- Date: 2011
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:8502 , http://hdl.handle.net/10948/1650
- Description: Numerous studies exist examining the link in solo singers between timbre and overtone spectra. The purpose of this study is to examine if similar results can be obtained by applying the same techniques to choral singing. The study is aimed at non-scientific readers and therefore introduces the subject with background to the relevant physics. In this study a number of recorded samples of choirs were taken from www.youtube.com and analyzed. The analysis included computation of long-term average spectra (LTAS) and singing power ratio‟s (SPR), which provided an indication of the relative energy in the higher overtone region of every choir. This was compared to a binary value judgment of the choirs. The results indicate that the SPR as applied to soloists cannot be directly applied to choirs. A link between SPR and a perceived “good” choral tone could exist but would have to be interpreted differently than in the case of soloists. It was also found that a possible link could exist between frequency peaks in LTAS and a choir's intonation.
- Full Text:
- Date Issued: 2011
Amohela hle Morena
- Holy Cross Choir, Composer Not Specified, Dargie, Dave
- Authors: Holy Cross Choir , Composer Not Specified , Dargie, Dave
- Date: 1988
- Subjects: Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Ga-Rankuwa f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/310284 , vital:59134 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD119-33
- Description: Music Festival Performance.
- Full Text: false
- Date Issued: 1988
- Authors: Holy Cross Choir , Composer Not Specified , Dargie, Dave
- Date: 1988
- Subjects: Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Ga-Rankuwa f-sa
- Language: Zulu
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/310284 , vital:59134 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD119-33
- Description: Music Festival Performance.
- Full Text: false
- Date Issued: 1988
Hona Puso le tata le
- Holy Cross Choir, Composer Not Specified, Dargie, Dave
- Authors: Holy Cross Choir , Composer Not Specified , Dargie, Dave
- Date: 1988
- Subjects: Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Ga-Rankuwa f-sa
- Language: Setswana
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/310904 , vital:59202 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD121-14
- Description: Music Festival Performance.
- Full Text: false
- Date Issued: 1988
- Authors: Holy Cross Choir , Composer Not Specified , Dargie, Dave
- Date: 1988
- Subjects: Folk music , Field recordings , Africa, Sub-Saharan , Africa South Africa Ga-Rankuwa f-sa
- Language: Setswana
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/310904 , vital:59202 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DD121-14
- Description: Music Festival Performance.
- Full Text: false
- Date Issued: 1988
Shingirirai
- Church Choir, Composer not Specified, Dargie, Dave
- Authors: Church Choir , Composer not Specified , Dargie, Dave
- Date: Date not specified
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/374254 , vital:66772 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC064a-22
- Description: Choir sMissa Zimbabwe hymn, accompanied by the drum, rattles and whistling.
- Full Text: false
- Date Issued: Date not specified
- Authors: Church Choir , Composer not Specified , Dargie, Dave
- Date: Date not specified
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified rh
- Language: Shona
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/374254 , vital:66772 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC064a-22
- Description: Choir sMissa Zimbabwe hymn, accompanied by the drum, rattles and whistling.
- Full Text: false
- Date Issued: Date not specified
Saul Msane: friend or foe of the people? The life of the late nineteenth to early twentieth centuries South African politician and journalist
- Authors: Mokoatsi, Thapelo
- Date: 2023-03-30
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/409799 , vital:70631 , DOI 10.21504/10962/409802
- Description: Saul Msane was a prominent founding member of the ANC and an active journalist and editor of the ANC newspaper Abantu-Batho. His career generated controversy. Towards the end of his life, he had a feud with his colleagues in the African National Congress (henceforth Congress) that led to him being labelled isitha sabantu, “the enemy of the people” for his refusal to support the Shilling strike of 1918, an accusation which was retracted a year after his death in 1919. The label of isitha sabantu levelled against Msane, had the effect of ending his political prominence in the Transvaal, forcing him to relocate to kwaNongoma where he died shortly thereafter. Msane’s years in the Congress amounted to about seven years, between 1912, the founding of the Congress, and the demise of his career in 1919. Msane’s seven years in Congress were characterised by controversies, clashes, and conflicts owing to his perceived elitism. In Congress historiography Msane is an obscure and elusive figure, he lives here and there in a footnote, as a supporting statement or a mentioned in mere passing. His marginalisation reveals some of the gaps within the history of Congress and invites us to write about those who did not emerge from the history of Congress necessarily as heroes. This thesis sets out to write a biography of Msane and document his political career beyond that one moment in which he came to be “isitha sabantu”. While Msane’s Congress career was comparably short and filled with tensions, an archive of his life exists. This study is an exploration of that archive to reconstruct the biography of a once prominent leader who dies in political exile from the Congress movement. This thesis sets out to do two key things in relation to reconstructing Msane’s life: Firstly, it reconstructs the longer biography of Msane’s political life by drawing on the existing archives, and thus filling in the South African historical record in that regard. Secondly, at the broader conceptual and historiographical level, it argues that the controversies surrounding Msane’s persona and character illustrate that conceptions of elitism and the nature of being ‘elite’ were key to the politics of Congress at the time. , U-Saul Msane wayengomunye wabasunguli beqembu lika-African National Congress (uKhongolose) futhi eyIntatheli nomhleli wephephandaba i-Abantu-Batho. Umsebenzi ayewenza waba nezingqinamba eziningi ngokwezepolitiki. Ngasekugcineni kwempilo yakhe waba nokungazwani nabaholi ayesebenza nabo kuKhongolose okwadala ukuba abizwe ngesitha sabantu ngenxa yokuba engavumelananga nesiteleka sango-1918 lapho abasebenzi babelwela ukukhushulelwa amaholo. Leligama lokubizwa ngesitha sabantu lahoxiswa ngo 1919 sekudlule unyaka engasekho emhlabeni. Lokubizwa ngesitha sabantu kwalilimaza igama lakhe kwezepolitiki e-Transvaal waze wathutha wayohlala kwaNongoma nokuyilapho ashonela khona. Iminyaka uMsane ayisebenzele uKhongolose yaba isikhombisa, kusukela ekusungulweni kwayo ngo 1912 kuze kufike ekulimaleni komsebenzi wakhe wezepolitiki ngo 1919. Kuleminyaka eyisikhombisa umsebenzi wakhe kuKhongolose wawubhekene nokugxekwa okukhulu nokubukeka njengomuntu onokuzenza ngcono kunabanye abantu. Emlandweni kaKhongolose uMsane akavezwa ngendlela emfanele, kukhulunywa ngaye kudlulwa nje. Lokunganakwa kukaMsane emlandweni kaKhongolose kusiphoqa ukuba sibhale ngabaholi abangaqakanjiswa. Lolucwaningo luveza umlando kaMsane ngokujulile ngaphezu kwangalesikhathi abizwa khona ngesitha sabantu. Noma umsebenzi kaMsane kuKhongolose wabamfushane kunabanye futhi ugcwele izinto kodwa noko ingobo yawo ikhona. Lolucwaningo lucubungula lengobo ukuhlaziya nokubhala kabusha umlando wengqalabutho eyagcina ishonela ngaphandle kombutho kaKhongolose. Loluphando lifisa ukwenza izinto ezimbili: Okokuqala, ibhala kabusha umlando omude wezepolitiki kaMsane kusetshenziswa ulwazi olukhona. Loku kuzosiza ukunothisa umlando wezepolitiki wezwe laseNingizimu Afrika. Okwesibili, ezingeni lobunzululwazi, lolucwaningo luveza ukuthi izinkinga uMsane ahlangabezana nazo zazisukele endleleni okwakubukwa ngayo indaba yokucwasana ngazinga empilo abantu, kwakuyinto ejulile kuKhongolose ukubukeka kwabanye sengathi bazenza ngcono. , Thesis (PhD) -- Faculty of Humanities, History, 2023
- Full Text:
- Date Issued: 2023-03-30
- Authors: Mokoatsi, Thapelo
- Date: 2023-03-30
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/409799 , vital:70631 , DOI 10.21504/10962/409802
- Description: Saul Msane was a prominent founding member of the ANC and an active journalist and editor of the ANC newspaper Abantu-Batho. His career generated controversy. Towards the end of his life, he had a feud with his colleagues in the African National Congress (henceforth Congress) that led to him being labelled isitha sabantu, “the enemy of the people” for his refusal to support the Shilling strike of 1918, an accusation which was retracted a year after his death in 1919. The label of isitha sabantu levelled against Msane, had the effect of ending his political prominence in the Transvaal, forcing him to relocate to kwaNongoma where he died shortly thereafter. Msane’s years in the Congress amounted to about seven years, between 1912, the founding of the Congress, and the demise of his career in 1919. Msane’s seven years in Congress were characterised by controversies, clashes, and conflicts owing to his perceived elitism. In Congress historiography Msane is an obscure and elusive figure, he lives here and there in a footnote, as a supporting statement or a mentioned in mere passing. His marginalisation reveals some of the gaps within the history of Congress and invites us to write about those who did not emerge from the history of Congress necessarily as heroes. This thesis sets out to write a biography of Msane and document his political career beyond that one moment in which he came to be “isitha sabantu”. While Msane’s Congress career was comparably short and filled with tensions, an archive of his life exists. This study is an exploration of that archive to reconstruct the biography of a once prominent leader who dies in political exile from the Congress movement. This thesis sets out to do two key things in relation to reconstructing Msane’s life: Firstly, it reconstructs the longer biography of Msane’s political life by drawing on the existing archives, and thus filling in the South African historical record in that regard. Secondly, at the broader conceptual and historiographical level, it argues that the controversies surrounding Msane’s persona and character illustrate that conceptions of elitism and the nature of being ‘elite’ were key to the politics of Congress at the time. , U-Saul Msane wayengomunye wabasunguli beqembu lika-African National Congress (uKhongolose) futhi eyIntatheli nomhleli wephephandaba i-Abantu-Batho. Umsebenzi ayewenza waba nezingqinamba eziningi ngokwezepolitiki. Ngasekugcineni kwempilo yakhe waba nokungazwani nabaholi ayesebenza nabo kuKhongolose okwadala ukuba abizwe ngesitha sabantu ngenxa yokuba engavumelananga nesiteleka sango-1918 lapho abasebenzi babelwela ukukhushulelwa amaholo. Leligama lokubizwa ngesitha sabantu lahoxiswa ngo 1919 sekudlule unyaka engasekho emhlabeni. Lokubizwa ngesitha sabantu kwalilimaza igama lakhe kwezepolitiki e-Transvaal waze wathutha wayohlala kwaNongoma nokuyilapho ashonela khona. Iminyaka uMsane ayisebenzele uKhongolose yaba isikhombisa, kusukela ekusungulweni kwayo ngo 1912 kuze kufike ekulimaleni komsebenzi wakhe wezepolitiki ngo 1919. Kuleminyaka eyisikhombisa umsebenzi wakhe kuKhongolose wawubhekene nokugxekwa okukhulu nokubukeka njengomuntu onokuzenza ngcono kunabanye abantu. Emlandweni kaKhongolose uMsane akavezwa ngendlela emfanele, kukhulunywa ngaye kudlulwa nje. Lokunganakwa kukaMsane emlandweni kaKhongolose kusiphoqa ukuba sibhale ngabaholi abangaqakanjiswa. Lolucwaningo luveza umlando kaMsane ngokujulile ngaphezu kwangalesikhathi abizwa khona ngesitha sabantu. Noma umsebenzi kaMsane kuKhongolose wabamfushane kunabanye futhi ugcwele izinto kodwa noko ingobo yawo ikhona. Lolucwaningo lucubungula lengobo ukuhlaziya nokubhala kabusha umlando wengqalabutho eyagcina ishonela ngaphandle kombutho kaKhongolose. Loluphando lifisa ukwenza izinto ezimbili: Okokuqala, ibhala kabusha umlando omude wezepolitiki kaMsane kusetshenziswa ulwazi olukhona. Loku kuzosiza ukunothisa umlando wezepolitiki wezwe laseNingizimu Afrika. Okwesibili, ezingeni lobunzululwazi, lolucwaningo luveza ukuthi izinkinga uMsane ahlangabezana nazo zazisukele endleleni okwakubukwa ngayo indaba yokucwasana ngazinga empilo abantu, kwakuyinto ejulile kuKhongolose ukubukeka kwabanye sengathi bazenza ngcono. , Thesis (PhD) -- Faculty of Humanities, History, 2023
- Full Text:
- Date Issued: 2023-03-30
An historical survey of the organs, organists and music of St. George's Cathedral, Cape Town, from 1834 to 1952
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
Aspects of musical education in Grahamstown, 1832-1950
- Authors: Sparrow, Marion Janet
- Date: 1986
- Subjects: School music -- South Africa -- Grahamstown School music -- Instruction and study -- South Africa -- Grahamstown Music -- South Africa -- Grahamstown -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2664 , http://hdl.handle.net/10962/d1004616
- Description: From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
- Full Text:
- Date Issued: 1986
- Authors: Sparrow, Marion Janet
- Date: 1986
- Subjects: School music -- South Africa -- Grahamstown School music -- Instruction and study -- South Africa -- Grahamstown Music -- South Africa -- Grahamstown -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2664 , http://hdl.handle.net/10962/d1004616
- Description: From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
- Full Text:
- Date Issued: 1986
The changing fortunes of the organ: the viewpoints of church organists in the Anglican churches of Port Elizabeth
- Authors: Stone, Justin
- Date: 2017
- Subjects: Organ (Musical instrument) -- South Africa -- Port Elizabeth Organists -- South Africa -- Port Elizabeth , Church of England -- Organs
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23502 , vital:30569
- Description: This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.
- Full Text:
- Date Issued: 2017
- Authors: Stone, Justin
- Date: 2017
- Subjects: Organ (Musical instrument) -- South Africa -- Port Elizabeth Organists -- South Africa -- Port Elizabeth , Church of England -- Organs
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10948/23502 , vital:30569
- Description: This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.
- Full Text:
- Date Issued: 2017
Alleluya
- Ikhwesi choir, Ikhwesi band, Dargie, Dave
- Authors: Ikhwesi choir , Ikhwesi band , Dargie, Dave
- Date: 1980
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Lumko sa
- Language: isiXhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/414163 , vital:71119 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC137a-09
- Description: Pentecostal Mass hymn, performed by Ikhwesi Choir and band.
- Full Text: false
- Date Issued: 1980
- Authors: Ikhwesi choir , Ikhwesi band , Dargie, Dave
- Date: 1980
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Lumko sa
- Language: isiXhosa
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/414163 , vital:71119 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC137a-09
- Description: Pentecostal Mass hymn, performed by Ikhwesi Choir and band.
- Full Text: false
- Date Issued: 1980
Hosannah
- Church Choir, Composer not Specified, Dargie, Dave
- Authors: Church Choir , Composer not Specified , Dargie, Dave
- Date: 1977
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Vosloorus sa
- Language: Language not Specified
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/374705 , vital:66820 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC068a-04
- Description: St Alberts' Choir sings Catholic hymn, with the drum and clapping accompaniment.
- Full Text: false
- Date Issued: 1977
- Authors: Church Choir , Composer not Specified , Dargie, Dave
- Date: 1977
- Subjects: Folk music , Sacred music , Field recordings , Africa, Sub-Saharan , Africa South Africa Vosloorus sa
- Language: Language not Specified
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/374705 , vital:66820 , International Library of African Music, Rhodes University, Makhanda, South Africa , Dave Dargie Field Tapes, Rhodes University, Makhanda, South Africa , DDC068a-04
- Description: St Alberts' Choir sings Catholic hymn, with the drum and clapping accompaniment.
- Full Text: false
- Date Issued: 1977
Zunde neJenzi
- Methodist Choir, Ruiwadzano Choir, Composer not specified, Tracey, Hugh
- Authors: Methodist Choir , Ruiwadzano Choir , Composer not specified , Tracey, Hugh
- Date: 1950-05-06
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Manyika
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/278841 , vital:55435 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1309-XYZ4766
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950-05-06
- Authors: Methodist Choir , Ruiwadzano Choir , Composer not specified , Tracey, Hugh
- Date: 1950-05-06
- Subjects: Folk Music , Field recordings , Africa, Sub-Saharan , Africa Zimbabwe City not specified f-rh
- Language: Manyika
- Type: sound recordings , field recordings , sound recording-musical
- Identifier: http://hdl.handle.net/10962/278841 , vital:55435 , International Library of African Music, Rhodes University, Makhanda, South Africa , Hugh Tracey Commercial Records, Rhodes University, Makhanda, South Africa , TP1309-XYZ4766
- Description: Indigenous music
- Full Text: false
- Date Issued: 1950-05-06
The benefits of community music on individuals in Port Elizabeth
- Authors: Rossouw, Carolyn
- Date: 2021-12
- Subjects: Port Elizabeth (South Africa) , Eastern Cape (South Africa) , South Africa
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/54552 , vital:46703
- Description: Countless research studies have outlined the benefits of Community Music engagement. Community Music is a global phenomenon that offers benefits to and across both international and national music projects. There are many forms of Community Music, including choral groups, instrumentalists, bands, and other ensembles. A variety of reasons or perspectives exist as to why participants engage in Community Music activities, such as the benefits that they gain when engaging in a project and/or the experiences of learning music in a social context. Characteristics of Community Music entail voluntary participation for individuals from all walks of life (e.g., those of high or low socio-economic standing, different races, and/or different levels of mental and/or emotional well-being). This study investigated three Community Music projects that take place at three different churches in Port Elizabeth, South Africa. The Community Music projects described in this study were different to those that are usually described in academic studies in so far as they are not aimed at social reform, social intervention, creative possibilities, or self-expression. Instead, this study focussed on investigating Community Music in Port Elizabeth based purely on creative possibilities and self-expression in order to better understand the benefits it can have on the individuals and community taking part therein. The Community Music projects described in this study involve both adult and youth participants and all fall under ‘church music’. Specifically, the projects consist of an adult church choir, a youth worship band, and an instrumental ensemble. In this qualitative study, a multiple case study approach was adopted, and data were gathered through observations, unstructured interviews, and both audio-visual and written materials. Themes emerged from the study that have been categorised as follows: social benefits, well-being benefits, spiritual benefits, musical skills development benefits, and leadership benefits. , Thesis (MA) -- Faculty of Humanities, School of Visual and Performing Arts, 2021
- Full Text:
- Date Issued: 2021-12
- Authors: Rossouw, Carolyn
- Date: 2021-12
- Subjects: Port Elizabeth (South Africa) , Eastern Cape (South Africa) , South Africa
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10948/54552 , vital:46703
- Description: Countless research studies have outlined the benefits of Community Music engagement. Community Music is a global phenomenon that offers benefits to and across both international and national music projects. There are many forms of Community Music, including choral groups, instrumentalists, bands, and other ensembles. A variety of reasons or perspectives exist as to why participants engage in Community Music activities, such as the benefits that they gain when engaging in a project and/or the experiences of learning music in a social context. Characteristics of Community Music entail voluntary participation for individuals from all walks of life (e.g., those of high or low socio-economic standing, different races, and/or different levels of mental and/or emotional well-being). This study investigated three Community Music projects that take place at three different churches in Port Elizabeth, South Africa. The Community Music projects described in this study were different to those that are usually described in academic studies in so far as they are not aimed at social reform, social intervention, creative possibilities, or self-expression. Instead, this study focussed on investigating Community Music in Port Elizabeth based purely on creative possibilities and self-expression in order to better understand the benefits it can have on the individuals and community taking part therein. The Community Music projects described in this study involve both adult and youth participants and all fall under ‘church music’. Specifically, the projects consist of an adult church choir, a youth worship band, and an instrumental ensemble. In this qualitative study, a multiple case study approach was adopted, and data were gathered through observations, unstructured interviews, and both audio-visual and written materials. Themes emerged from the study that have been categorised as follows: social benefits, well-being benefits, spiritual benefits, musical skills development benefits, and leadership benefits. , Thesis (MA) -- Faculty of Humanities, School of Visual and Performing Arts, 2021
- Full Text:
- Date Issued: 2021-12
The prominence of choral music in the search for, and preservation of, an African identity: A study focusing on the role of choral composers in the formation of black nationalism during and after the colonial era in South Africa
- Authors: Nelani, Athenkosi
- Date: 2021-10-29
- Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190965 , vital:45045
- Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Nelani, Athenkosi
- Date: 2021-10-29
- Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190965 , vital:45045
- Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
Aspects of the theory and practice of choral training in South African schools
- Authors: Radue, Robin R
- Date: 1980
- Subjects: Choral music -- Scores Choral music -- Instruction and study Choirs (Music) -- Instruction and study , Choral singing , Scores , Children's choirs , Choral training
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2629 , http://hdl.handle.net/10962/d1001974
- Description: Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)
- Full Text:
- Date Issued: 1980
- Authors: Radue, Robin R
- Date: 1980
- Subjects: Choral music -- Scores Choral music -- Instruction and study Choirs (Music) -- Instruction and study , Choral singing , Scores , Children's choirs , Choral training
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2629 , http://hdl.handle.net/10962/d1001974
- Description: Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)
- Full Text:
- Date Issued: 1980
The origins, developments, and current performance practices of African neo-traditional choral music of Southern Africa
- Authors: De Beer, Rudolf
- Date: 2007
- Subjects: Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8514 , http://hdl.handle.net/10948/d1011781 , Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Description: This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
- Full Text:
- Date Issued: 2007
- Authors: De Beer, Rudolf
- Date: 2007
- Subjects: Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Language: English
- Type: Thesis , Doctoral , DMus
- Identifier: vital:8514 , http://hdl.handle.net/10948/d1011781 , Choral music -- Africa, Southern , Music -- Performance -- Africa, Southern
- Description: This study deals with African neo-traditional choral music of sub-Saharan- and Southern Africa, with specific reference to extemporisation. The research focussed on the evolution of this music through an amalgamation of western choral music and African indigenous and traditional musical practices of sub- Saharan and Southern Africa. Specific reference to the syncretism of western music, which came to Africa through colonisation, and the way African indigenous musical traditions influenced it, is preceded by descriptions on African indigenous musical practices and western choral music traditions. The incorporation of traditional folk songs into African makwaya, or “choir music”, was inevitable. This development saw the birth of African neotraditional choral music as a formal part of many choirs’ programmes. A description of five sample choirs engaging with this music was followed by a case study on the Drakensberg Boys’ Choir. The way these choirs deal with different aspects regarding the preparation and performance of this music highlighted many parallels with African indigenous traditions. It also emphasises the important role of this music in choral performance, as well as choral education. As a genre in evolution, one aspect of this music, namely extemporisation, was studied in more detail in order to suggest another way of engaging with this music. Not only is choral extemporisation a possibility in African neo-traditional choral music of Southern Africa, but it is also a flourishing art form in Scandinavia. In Norway and Sweden it also utilises characteristics and techniques of folk music, which raised the status of this music to be a major art form. This notion prompted the suggested application of choral extemporisation to African neo-traditional choral music of Southern Africa. Even if any method of extemporisation may be utilised, it is proposed that characteristics of African sub- Saharan- and Southern African indigenous music be applied. This may result in the incorporation of more of these African indigenous elements in the neo-traditional choral music discussed than the current western harmonic emphasis. However, the suggestion is seen as a next step in the evolution of this music, which corresponds with international practices, and not to return to indigenous practices as such.
- Full Text:
- Date Issued: 2007
The Moravian church music heritage in South Africa: a historical account and a theoretical framework for the establishment of a music foundation based on the North American concept
- Authors: Boonzaaier, Devandre
- Date: 2018
- Subjects: Church music , Moravian Church -- South Africa Choirs (Music) -- South Africa
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: http://hdl.handle.net/10948/23570 , vital:30581
- Description: This study serves as a contribution to the literature on the music of the Moravian Church with specific reference to the South African Moravian music heritage. The Moravian Church music heritage is documented through the lens of Coloured composers of Moravian church music. In my study, I highlight the origins of the Moravian Church and its underlying philosophies by focusing on important figures and treasures of the Moravian Church. I provide a brief outline of the Moravians’ contribution to education and music. In the study I discuss the importance of record-keeping and rich hymnody of the Moravian church. I also discuss the doctrine, worship and sacraments of the Moravian Church. The literature study provides the history of the music of the American Moravian Church. This serves as a basis for comparison with the Moravian Church music tradition in South Africa, which is discussed in chapter four of this study. Furthermore, I provide an account of the history of the Moravian Church in South Africa. I use the qualitative research method of case studies to detail the music departments of a selected number of congregations within the Moravian Church of South Africa. Chapter five contains biographies of South African Moravian composers. This research adds to the body of new knowledge through the provision of a comprehensive list of South African Moravian composers and provides the first annotated bibliography of their works. Finally, my study concludes with the provision of a theoretical framework for the establishment of a Moravian Music Foundation based on the North American Moravian Music Foundation model.
- Full Text:
- Date Issued: 2018
- Authors: Boonzaaier, Devandre
- Date: 2018
- Subjects: Church music , Moravian Church -- South Africa Choirs (Music) -- South Africa
- Language: English
- Type: Thesis , Doctoral , DPhil
- Identifier: http://hdl.handle.net/10948/23570 , vital:30581
- Description: This study serves as a contribution to the literature on the music of the Moravian Church with specific reference to the South African Moravian music heritage. The Moravian Church music heritage is documented through the lens of Coloured composers of Moravian church music. In my study, I highlight the origins of the Moravian Church and its underlying philosophies by focusing on important figures and treasures of the Moravian Church. I provide a brief outline of the Moravians’ contribution to education and music. In the study I discuss the importance of record-keeping and rich hymnody of the Moravian church. I also discuss the doctrine, worship and sacraments of the Moravian Church. The literature study provides the history of the music of the American Moravian Church. This serves as a basis for comparison with the Moravian Church music tradition in South Africa, which is discussed in chapter four of this study. Furthermore, I provide an account of the history of the Moravian Church in South Africa. I use the qualitative research method of case studies to detail the music departments of a selected number of congregations within the Moravian Church of South Africa. Chapter five contains biographies of South African Moravian composers. This research adds to the body of new knowledge through the provision of a comprehensive list of South African Moravian composers and provides the first annotated bibliography of their works. Finally, my study concludes with the provision of a theoretical framework for the establishment of a Moravian Music Foundation based on the North American Moravian Music Foundation model.
- Full Text:
- Date Issued: 2018