Odeion School of Music

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Open Access
Acculturation as translation: mimicry, satire and resistance in Chewa dance
(University of the Free State, 2012) Nthala, Grant
English: communities of Malawi, Zambia, Mozambique, Tanzania and Zimbabwe. With this particular dance – and indeed with many others – historical connotations, cultural reverberations, and systemic institutionalisation come into play. The hierarchical organisation of the Chewa dance systems and the orderly and enigmatic tendencies of the dance displays are reminiscent of historical phenomena linked to the Chewa diaspora. In essence, mimicry, satire and other forms of enactment (often dramatic) in Chewa dance subtly or candidly unearth acculturative elements within the Chewa ethnicity. This article seeks to illustrate that the Chewa dances gulewamkulu and mganda constitute theatre and that their performance demonstrates a manifestation of traditional Chewa cultural features that have been altered or modified by borrowing from or adapting to other Bantu-related and European cultures.
Open Access
After universalisms: music as a medium for intercultural translation
(University of the Free State, 2012) Viljoen, Martina
English: Postmodernity is characterised by the fundamentalisation of plurality. As Aleida Assmann (1996: 99) finds, difference is affirmed in the form of deviance, gaps, and radical alterity. Within this intellectual milieu, the acknowledgment of alterity and the acceptance of difference have become foremost ethical claims (Assmann 1996: 99). Appropriating the thought of Goethe, she finds that the emphasis shifts from the embrace of the One to an encounter with the mode of the Two (Assmann 1996: 100). This encounter is marked by awe and surprise, but also by the shrouding of each of the Two as if cloaked in eternal solitude. The question posed in this article is whether Assmann’s viewpoints may enhance a reading of a work from the South African art music repertoire, Hans Huyssen’s Ciacona & Tshikona (2007). Engaging with a broader selection of viewpoints on cultural translation, it is asked whether Assmann’s (1996: 99) notion of otherness is a productive context for mediating a meaningful encounter between cultures and whether, as such, it is relevant to an interpretation of Huyssen’s work. A speculative interpretation of Huyssen’s Ciacona & Tshikona reveals that the work is suggestive of a complex heredity being translated into an ‘impure’ new South African contextuality.
Open Access
'n Bespreking van liturgiese orrelmusiek, bande 1 tot 6
(University of the Free State, 1990-06) Groenewald, Wilna; Conradie, E. M.
Abstract not available
Open Access
The Chewa art of drumming and its influence on modern Malawian music
(University of the Free State, 2009-05) Nthala, Grant Macloly Moloko; Huyssen, Hans
English: Traditionally appropriate Chewa dance performances require specialized performers: singers, hand-clappers, organizers, dancers and drummers. As performers of Chewa dances grow into the necessity of surviving rival challenges and presumably malicious mysterious attacks Chewa music and dance is strongly associated with ritual, mystery, and enigmatic expression. While various dances often share common features – for example, songs are sometimes transferred from one dance to another with only slight changes in tempo; dance movements may be similar in a related family of dances; and the basic Chewa hand-clapping pattern is a general characteristic – it is the accompanying drumming rhythms that determine each dance‟s unique identity. Since the drumming is thus the key distinguishing factor it is regarded as the essence of the dance in Chewa communities. It helps articulate the purpose for which dance music is made; it contributes to the expression of cultural values through its performance; and it contains intrinsic dogmatic information on Chewa social structures, time and again bringing them home to both the performers and the audience. The drum mobilizes the people to a dancing event, unites the communities through the place that it takes, and symbolically represents the people‟s sovereignty. The drum is the centre of every performance and it is jealously preserved to remain such. Mystic forces and beliefs are involved in its construction, preservation and performance. According to the indigenous Chewa people this ensures success and protection of both the drumming or the drum and the dancers. Adopting the approach of musicology and ethnomusicology, this dissertation discusses the role played by indigenous music in Chewa societies with focus on drumming as an important element in the making of such music. The discussion describes the process of drum making and its application to the main Chewa dances. From personal background, experience, and a close compassionate vantage point I attempt to describe in detail and contextually the intricacies of three important Chewa dance forms – Gulewamkulu, Chimtali and Mganda – as media for the drumming expression. The study furthermore narrates the history of the Chewa ethnic group as well as its social structure, and how the drumming art is transferred both within and outside the indigenous Chewa communities. The study attempts to open up a previously rather obscure field of research and inspire and facilitate further investigation into the material. It relies on published and unpublished books and theses, field research aimed at obtaining information not covered in the publications, audio-visual recordings, and discussions with other researchers who have interest in Chewa culture and music.
Open Access
Choral techniques for children's choirs: a qualitative approach
(University of the Free State, 2008-11) Verster, Huibrecht; Viljoen, M.; Niemann, R.
English: Children's choirs gained recognition during the twentieth century as an acclaimed category in Western choral music. This choral category's subsequent dynamic evolvement has brought to the fore the need to broaden the knowledge of specialised rehearsal and conducting techniques, especially in view of its internationally competitive nature. As part of the growing body of knowledge in the field, conductors have contributed to the development of the instrument through the design of didactic methods generating specific artistic results. The evidence of studies on the topic, and in particular, the lack of qualitative data, highlighted the need to systematically investigate and document all music-technical foundations of children’s choral singing as practised by leading conductors in the field. It is the aim of this study to explore a range of theoretical, practical and didactic issues by way of a qualitative investigation. In order to contribute to the body of knowledge on the development of the vocal instrument of children, and to provide a substantive framework for conducting methods generating specific artistic results, this study documents the responses of a number of world-renowned conductors of children’s choirs. The study is introduced by a brief overview of the historical background to the evolvement of the children’s choir. In this regard it has been found that the remarkable development of this choral category during the course of the last century was stimulated in particular by various inputs from the educational and compositional field, from which a unique choral pedagogy for children that included both voice skills and voice health training was realised during the 1980s. It also became clear that conductors contributed considerably to the evolvement of this choral category by means of their active engagement with the field, and by disseminating experience and knowledge through publications, symposia and workshops. A literature study first examined general aspects of choral directing, which were then particularised in terms of the children’s choir. A qualitative study followed that documented the views of various renowned conductors, which amplified the preceding literature findings on certain techniques the conductor should apply to build the child’s voice expertly as an instrument of musical excellence. The data chapter not only reiterated the important role of the conductor, but confirmed that the conductor's role extends beyond the musical director's function to that of nurturer and educationalist, which also includes a strong psychological dimension. It was made clear that the role of the conductor is vital already during the auditioning and repertoire selection processes, where the potential success of the choir originates. The musical ability of children carries more weight than the quality of an individual voice, and therefore has to be assessed in a variety of effective ways. It was also stressed that the repertoire for this choral category has to be suitable for children, taking into account aspects such as level of performance, language and cultural background, as well as musical variety. The findings showed a strong correlation between the literature and the qualitative data, although the latter provided a rich individualistic account. It was clear that choral techniques for this instrument should be holistic in approach, starting with the body posture and working towards the creation of a desired homogeneous choral sound through touching on numerous physical and psychological aspects. As part of this process, the conductor needs to focus on elements of choral sound such as relaxation, breathing, registers, vowels, phrasing, legato singing, pronunciation, articulation and agility, resonance, pitching and intonation. Finally the study offered recommendations for present and future conductors of children’s choirs to enhance this art form, and extend the excellence of this type of choral singing at national and international level.
Open Access
A critical review of South Africa's curriculum and assessment policy statement grades 10-12 music
(University of the Free State, 2014-01) Hellberg, Elsabie Petronella; Van Niekerk, Caroline; De Villiers, Frelet
In 2012 a new curriculum for Grade 10-12, Curriculum and Assessment Policy Statement (CAPS), was implemented in South African government schools. This new curriculum applies to all subjects, including Music. Before implementation, concern was raised by numerous music educators regarding the development and content of the curriculum. In reaction to the draft document, several suggestions were submitted to the Department of Basic Education by schools. Despite this, no significant changes were made to the curriculum. In comparison to the National Curriculum Statement (NCS), CAPS’s predecessor, CAPS restricts the stylistic choice to dominantly Western Art Music, Jazz or Indigenous African Music stylistic approach, especially concerning music history. The aim of this study was to critically review Music CAPS in terms of Music curricula of other countries from First, Second and Third World spheres. In addition, data was gathered through questionnaires from five samples (educators, learners, parents, lecturers and one curriculum assessor). The comparison between the different countries' Music curricula revealed that, except for South Africa and Trinidad and Tobago, a correlation exists between the various countries' demographic distribution and the stylistic preference in their Music curricula. Furthermore, South Africa's Music CAPS’s content and contextual framework is, especially regarding Western Art Music, comparable to the Music curricula of First World countries. On the other hand, lack of demarcation in its Indigenous African Music and almost non-existent composition constituent are inconsistent with First World countries. Concerning the questionnaires, several significant findings were made. These include participants' rating of Music CAPS concerning its link with tertiary music education and the music industry, the exclusion of music technology from the curriculum and the omission of Popular Music. Following the results of the study, suggestions are made towards an improved South African subject Music curriculum. Among others, proposals include raising the performance standards; reintroducing music technology; expanding the composition component; adding Contemporary Music; and addressing teacher competence through sustained training. Until now, changes to the South African subject Music curriculum were not research-based. Since this thesis is based on formal research, it will be submitted to the national assessment team who are currently reviewing Music CAPS.
Open Access
Critical success factors enabling the financial sustainability of South African donor-funded community music development programmes
(University of the Free State, 2016) Voges, Sarah Maria (Arisa); Viljoen, Martina; Van Zyl, Johan H.
𝑬𝒏𝒈𝒍𝒊𝒔𝒉 This research study is an investigation into the financial sustainability of South African donor-funded community music development programmes (CMDPs). The aim was to identify the critical success factors (CSFs) that have enabled CMDPs to survive for more than five years. An interdisciplinary approach was followed to bridge the gap between music and business management. The literature review focused on the impact of music education on human and economic development, and explored the financial sustainability of non-profit organisations. Music education has played an important socio-economic development role for centuries, and continues to do so through the economic impact of the Cultural and Creative Industries (CCI). CMDPs nurture the employability, self-esteem and general wellbeing of marginalised youth. The cognitive, emotional and social skills acquired by playing a music instrument and participating in group music-making activities foster creativity and innovation – essential skills required in the contemporary workplace. These benefits are maximised if tuition is sustained from the ages of eight to seventeen. Music education also facilitates cross-cultural engagement, nurtures social cohesion and nation-building, and alleviates inequality and unemployment. Hence, as proposed in the National Development Plan, music and the arts have significant potential to bring about positive change and to contribute to the development of the creative economy in South Africa. However, donor-funded CMDPs have become underfunded, understaffed and unsustainable because music education remains marginalised in the current insecure political and funding environment.In the empirical investigation an emerging, exploratory qualitative research design was applied and multi-methods used for triangulation. A homogenous, purposeful sample was compiled and augmented through snowball sampling. Thirty-seven electronic questionnaires received between June and December 2015 were analysed, and the results triangulated with data obtained through seven elite interviews. Several telephone and email enquiries were also made to obtain information about the causes of the demise of defunct CMDPs. The main findings revealed that securing funding, parental involvement and community support and transport were the CSFs that determined CMDP longevity, concurring with previous conclusions reached by other South African researchers. A lack of insight into financial management best practice – aggravated by fundraising inefficiency – exacerbates the current CMDP financial hardship. Despite the commendable 40.7% of income CMDPs have secured through a combination of support from local governments, the National Lotteries Distribution Trust Fund and the national government, the need for more government support and efficiency in funding disbursements was highlighted. The efficient management of human resources to build human capacity also emerged as a key determinant of financial sustainability. To maximise the benefits of CMDPs, early childhood development and lifelong learning programmes should be implemented and the use of indigenous music encouraged to enhance intercultural learning. Harnessing the benefits of the CCI require more support from government and universities, cultural entrepreneurship and the efficient use of technology. The financial sustainability of CMDPs will be nurtured by the application of the Tuckman-Chang financial sustainability measures – notably revenue diversification – and the elements of Inyathelo’s Advancement model. By integrating multi-stakeholder relationship-building with effective governance, leadership, strategy and planning, human capacity, financial management, organisational voice and visibility, fundraising and monitoring and evaluation, CMDPs position themselves better to attract support. Improved infrastructure and asset management (transport, venues, instruments and technology), the effective management of human resources (parental involvement, staff training, succession planning and an increase in the appointment of full-time staff) and a scientific approach to fundraising will enhance the financial sustainability of CMDPs. To nurture their fundraising potential, CMDPs should invest in research and development and online crowdfunding. New business models should be explored to foster self-reliance through earned income and by embracing pivotal fundraising tools made available through recent changes in the Broad-based Black Economic Empowerment Codes of Good Practice. In conclusion, a holistic approach that nurtures relationships and speaks to the goodness, kindness and helpfulness of humanity is advocated, because it demonstrates the traditional African value of Ubuntu.
Open Access
Die musiekgeskiedenis van Oos-Londen 1872 - 1922
(University of the Free State, 1985-06) Du Toit, Widor; Potgieter, J. H.; Van Schoor, M. C. E.
Afrikaans: Die bronnemateriaal van hierdie proefskrif is feitlik geheel en al geneem uit die plaaslike nuusblad, die Daily Dispatch, wat dikwels gedetailleerde verslae oor Oos-Londen se konsert-aktiwiteite gepubliseer het. Aangesien daar baie min ander stof met betrekking tot hierdie onderwerp oor die tydperk 1872-1922 bestaan, is die proefskrif dus in hoofsaak 'n breedvoerige uiteensetting en evaluering van die konsertlewe van Oos-Londen soos uit beriggewing in die Daily Dispatch geneem. Hierdie evaluering het hoofsaaklik om twee aspekte gewentel, naamlik die aard en kwaliteit van werke wat uitgevoer is, en die frekwensie van aanbiedinge binne sekere periodes en omstandighede. Bespreking het binne 'n relatiewe raamwerk geskied, met ander woorde, uitstaande teenoor minder noemenswaardige gebeurtenisse en/of tendense binne slegs Oos-Londen self se musikale milieu is in oënskou geneem. Daar is nie geëvalueer in verhouding tot meer ontwikkelde musieksentra in Suid-Afrika of oorsee in dienooreenkomstige tydperk nie. Konserte is volgens hulle musikale betekenis en aard in verskillende kategorieë opgedeel om evaluering te vergemaklik. Met hierdie indeling kon sekere tendense en riglyne makliker geïdentifiseer word. Daaruitspruitend was dit moontlik om die geheelbeeld duidelik te omskryf. Die problematiek van hierdie projek het hoofsaaklik daarin gelê dat die Daily Dispatch feitlik die enigste bron vir navorsing was, en dat dié bron se gegewens uiteraard eensydig was. Oos-Londen se konsertbedrywighede is gerapporteer hoofsaaklik met die doel om kultuur te bevorder, wat 'n mate van eensydigheid onvermydelik gemaak het. Daarbenewens het die feit dat belangrike musiekaangeleenthede slegs selde plaasgevind het (soos blyk uit hierdie bron) en die feit dat baie min ander relevante bronnemateriaal bestaan en dat persone wat eerstehandse kennis gedra het oor die periode onder bespreking reeds oorlede is, die vloei en deurlopendheid van die proefskrif bemoeilik. Deeglik bewus van die feit dat talle van die verslae deur subjektiwiteit gekleur is, dat aktiwiteite nie altyd deur persone geresenseer is wat artistieke aanvoeling gehad het nie, en dat resensente soms sekerlik bloot opbouend wou wees, is die ontwikkeling en ontplooiing van Oos-Londen se musiekgeskiedenis nie soseer aan dié gegewens gemeet nie, maar aan die konkrete gebeure. Gebeure soos onder meer die dorp se koorveniging wat na 'n lang sukkelbestaan plotseling werke van hoogstaande gehalte uitvoer, die totstandkoming van instrumentale- en vokale ensembles, en die solo-uitvoerings van gewigtige werke deur 'n amateur in 'n dorp waar konserte deur talle items van populêre aard op een program gekenmerk is, is maatstawe wat gebruik is vir beoordeling. Aanhalings en kommentaar van resensente dien meestal hoofsaaklik om die tydsgees, die benadering en musikale milieu van die periode weer te gee. Daarbenewens is die plasing van volledige programme 'n nuttige metode om die konsertgeskiedenis van die dorp meer volledig te weergee. Ongelukkig kan die afwesigheid van sommige komponiste in die programme nie verhelp word nie, aangesien die koerant nie die betrokke programme volledig gepubliseer het nie. Die proefskrif is dus 'n poging tot 'n getroue weergawe en evaluasie van die musiekgebeure in Oos-Londen gedurende die tydperk 1872-1922.
Open Access
Die ontstaan van legato soos beïnvloed deur die vervolmaking van die fortepiano
(University of the Free State, 1985-12) Bruns, Jeanette Dalina Herholdt; Human, J. L. K.
Afrikaans: Die oorkoepelende term, fortepiano, sluit die ganse familie van klaviatuurinstrumente, met snare en hamermeganiek, in. Fortepiano is die eerste Italiaanse benaming wat aan die instrument gegee is, tans in Afrikaans as klavier bekend. Toonproduksie by die klavier geskied deur middel van hamerslae op gespanne snare. Hierdie metode van toonproduksie lei daartoe dat die klavier in wese 'n slag- of perkussie-instrument is. Ten spyte van die perkussiewe aard van die klavier, word legato as een van die belangrikste speelmaniere in klaviervoordrag beskou. Legato, 'n Italiaanse begrip, beteken: musiek wat voorgedra word met 'n gladde verbinding tussen die tone en wat in musieknotasie met 'n fraseboog aangetoon word. Legato vind sy oorsprong in die middeleeuse musieknotasie (neume), legatura. Die legatura dui twee toonhoogtes, sowel as twee nootwaardes aan. Die oorsprong van die klavier kan so ver teruggespoor word as die dulcimer - 'n instrument wat in die Midde-Ooste ontstaan het. Die Pantaleon het uit die dulcimer ontwikkel en het uit 276 snare bestaan wat met hamers beslaan is. Bartolomeo Christofori het volgens oorlewering, die eerste klavier met hamermeganiek in 1709 gebou. Sedertdien is drastiese verbeterings in die instrument aangebring. Die klavier bekom sy finale vorm in 1874 met die toevoeging van die sostenutopedaal deur H.E. Steinweg. Elke klavier bestaan uit die volgende hoofonderdele: houtraam, klankbord met 'n kort en 'n lang brug, staalraam, snare wat oorkruis gespan is, hamer- en dempermeganiek (wat die pedale insluit), klawerbord en kabinet. Vanweë die bou van die klavier en die metode van toonproduksie, is daar sekere eienskappe wat legatospel bevoordeel en benadeel. Eienskappe wat legatospel in klaviermusiek benadeel is: - Die klavier bestaan uit 88 verskillende instrumente, kompleet met klawer, hamer- en dempermeganiek en gespanne snaar. - Die snare, hamers en dempers is nie identiese onderdele nie, maar word in drie registers gegroepeer. Die aanpassings in toonproduksie geskied daarom van klawer tot klawer, register tot register. - Die intensiteit van die toon is op sy grootste net nadat die snaar deur die hamer aangeslaan is. Daarna sterf die toon geleidelik weg. Legatospel word hierdeur benadeel, omdat 'n konstante geluidstroom op die klavier ontbreek. - Geraas in klavierspel word veroorsaak deur stampgeluide van byvoorbeeld die hamerkop wat teen die snaar bons. Geraas in klavierspel is te alle tye teenwoordig. Geraas benadeel die legatolyn, omdat dit verdere onderbrekings in die geluidstroom veroorsaak. Eienskappe wat legatospel in klaviermusiek bevoordeel is: - Pedaalgebruik maak simpatieke vibrasies moontlik. Sodoende word die toonduur verleng en 'n langer toonduur bevoordeel legatospel. - 'n Nie-perkussiewe aanslag bevoordeel legatospel. Die nieperkussiewe aanslag geskied wanneer geraas tot 'n minimum verminder word. Dit geskied deur klawerneerdalings voor te berei deur middel van 'n elastiese polsgewrig. Nie-perkussiewe aanslae het klein toonintensiteite en lang toondure tot gevolg. - Legatospel word ook bevoordeel wanneer die korrekte klawerneerdaling met die tydsverloop tussen klawerneerdalings gekoërdineer word. Die akoestiese eienskappe van legatospel is nie slegs veronde aan die onderdele van die instrument nie, maar ook verbonde aan die geslote area soos die konsertsaal waar klavieruitvoerings plaasvind. Klank wat in so 'n geslote area geproduseer word, word op twee verskillende maniere deur die luisteraar waargeneem: direk en indirek. Die indirekte klank word talle kere weerkaats en beinvloed legatospel ten sterkste. Om legatospel korrek waar te neem is dit ook noodsaaklik om die anatomiese en fisiologiese werking van die gehoororgaan en fisiese speelapparaat (hand en arm) van nader te beskou. Ten slotte word legatospel in styltydperke beskou. Die stylgebondenheid van legatospel is 'n kulminasie van al die voorafbespreekte fasette van die begrip, legato.
Open Access
Die ontwikkeling van klaviertegniek deur 'n toepassing van Herrmann se vierkwadrant-breinmodel
(University of the Free State, 2010-05) De Villiers, Aletta Magrietha Francina; Viljoen, Martina; Beukes, Roelf
English: As experience in private practice has pinpointed a deficiency in the teaching process dealing with the effective development of piano technique, the need has arisen to develop a learning model in which provision is made for the learning preferences of learners, and which applies an approach that is holistic and does not focus solely on the development of technical and mechanical skills. It was realized that there are divergent approaches to the concept of piano technique and its development. An extensive literature study of the following aspects was undertaken: physical and physiological aspects of relevant brain structures; mental functions necessary for piano technique, including among others a whole-brain approach, neuronal networks underlying music processing and motor control in the brain with regard to motor skills. Besides aspects of the brain, research was also done on teaching and learning models such as those of Rose and Nicholl, Kolb, Gardner, Jensen and Herrmann; existing approaches to piano technique; different methods of technique development; the physical and physiological aspects of piano technique; as well as emotional and social functions formulated in the philosophies of Kohut and Green. A literature study of factors that can influence technique was also conducted and the following divisions were identified, namely: the teacher; the environment; the teaching methods and the practice process. Interest in the fast-growing field of neurology has drawn attention to Ned Herrmann’s pioneering work in the field of brain domination. Research was done into his scientific approach which formulates that the dominance of specific parts of the brain influences the brain processes of skills acquisition with the result that preferences for certain learning processes can be identified in individuals. Herrmann developed the four quadrant brain model that metaphorically divides the brain into four quadrants, which is illustrated in a circular diagram anticlockwise as quadrants A, B, C and D. Each quadrant has unique quadrant descriptions that explain preferences, dispositions and perceptions. Individuals are therefore dominant in one or more of the four quadrants and that determines the type of teaching approach they are optimally receptive to; the manner in which they absorb information; deal with people and their attitude towards everyday life. Herrmann’s brain domination instrument (HBDI), which was developed to determine the dominance in persons (their cognitive preferences), was investigated. It comprises a questionnaire of 120 questions whose outcome cannot be predicted. Herrmann’s teaching and learning model is further important as it puts forward that the whole-brain approach to piano teaching, where information is provided in a structured and unstructured manner, is the best approach to be followed. By means of this, primary cognitive preferences are addressed and secondary preferences developed. A qualitative survey using the Delphi method was conducted at the same time. Experts in the field of piano technique associated with tertiary institutions in South Africa, as well as students at different levels of completing their music qualifications, were approached to act as respondents. Information regarding the development of piano technique, interpersonal relations and opinions concerning learning preferences was gathered and processed into meaningful divisions and subdivisions. It was realized that experts do indeed pay attention intuitively to the preferences of learners, but that a scientific foundation is lacking. Information obtained through literature study and qualitative research was meaningfully integrated to propose practical methods by means of which Herrmann’s four quadrant brain model can successfully be applied to piano technique. The completed research led to the conclusion that piano technique was a mental rather than a mechanical process and that the learners’ full potential could indeed be developed by applying Herrmann’s four quadrant brain model. But this can only materialize if the ideal teaching milieu; the ideally qualified teacher and recognition and consideration of the specific cognitive preferences of learners, within the context of the whole brain approach, are present.
Open Access
Die waarde van algemene leerteorieë vir die klavieronderwyser met spesiale verwysing na die omlyningsmetode van Abby Whiteside
(University of the Free State, 1990-11) Van Zyl, Elsa Johanna; Human, J. L. K.
Afrikaans: Die verhandeling word ingelei deur 'n probleemstelling waarin die redes vir en metode van navorsing uiteengesit word. Hoofstuk een word aan 'n historiese oorsig van klavierpedagogiek gewy. Daar word gepoog om aan te dui hoe uiteenlopende faktore klavieronderrig en -tegniek beïnvloed het. Die ontwikkeling van die klavier as instrument en die opkoms van virtuositeit in die 19de eeu het In belangrike rol gespeelom onderrigmetodes te beïnvloed. Die bydraes van bekende klavierpedagoë word kortliks bespreek. Hierby is die vroeë klawerbordspelers, die Weense skool van klavierspel en die meer tegniese benadering van die vorige eeu ingesluit. Denkrigtings in die twintigste eeu wissel van oorbeklemtoning van die speelapparaat tot die ontdekking van die rol van die brein in klavierspel. Hedendaagse pedagoë streef na 'n gebalanseerde benadering wat uit die kennis van die verlede sowel as nuwe bevindings put. Hoofstuk twee is 'n bespreking van toepaslike opvoedkundig-sielkundige beginsels. Namate kennis van die leerproses toeneem, behoort onderrigmetodes ook te verbeter. Die doelstellings van klavieronderrig word in oënskou geneem, asook die vereistes wat aan 'n klavieronderwyser gestel word. Aangesien die meeste hedendaagse leerteorieë uit bekende denkrigtings ontwikkel het, word 'n kort historiese perspektief van opvoedkundig- sielkundige beginsels gegee. Faktore wat die leerproses beïnvloed word bespreek. Daar word ook kortliks aangetoon hoe algemene leerbeginsels op die leerprosesse van klavierspel van toepassing gemaak kan word. Die bydraes van enkele prominente opvoedkundiges word ingesluit. Hoofstuk drie beskryf die metode van omlyning van die vorm ("outlining") wat deur 'n Amerikaanse pedagoog Abby Whiteside ontwikkel is. Sy het bevind dat 'n gebrek aan 'n geheelbeeld ('n totale klankvoorstelling) die oorsaak van baie pianistiese probleme is. Hierdie oortuiging kom ooreen met die Gestalt-teorie, wat in die vorige hoofstuk as 'n belangrike leerbeginsel uitgesonder is. Whiteside se aanwending van die omlyningsmetode by die aanleer van In aantal Etudes van Chopin word uiteengesit. Haar houding jeens tradisionele klavieronderrig word ook in oënskou geneem. Hoofstuk vier is 'n evaluering van Abby Whiteside se omlyningsmetode. 'n Aantal klavierleerkragte is gevra om die metode met leerlinge op die proef te stel. Deur middel van 'n vraelys is verslag van die leerlinge se vordering gedoen. 'n Hele aantal insiggewende bevindings het uit die ondersoek geblyk. Daar is tot die gevolgtrekking gekom dat dit die moeite loon om kennis te neem van die ontwikkeling op die gebied van die opvoedkundige sielkunde. Nuwe onderrigbenaderings kan met vrug op die proef gestel word.
Open Access
An exposition of musical arts education in Malawi
(University of the Free State, 2013-01) Ligoya, Alinane Mildred; Barz, Gregory; Pretorius, Gerda
English: Musical Arts are a vibrant and integral part of life and culture in the Jali area, Zomba district, Southern Malawi. The musical arts types (magule ) are a means by which culturally significant knowledge, attitudes and skills are expressed and transmitted, to ensure the longevity of the way of life in Jali. This is a study of the musical arts education system as it exists in the Jali area. Due to the nature and intimate role of the magule in the culture of Jali, to learn the magule in the Jali area is to learn critical aspects of how and why the culture and everyday life of the community is both informed and re-formed. Inevitably, this is also a study of the culture of people in the area, giving this music education study an ethnographic approach. I observed, documented, and participated in the performance of three magule , namely Malangalanga , Manganje and Mganda . Interviews were conducted with adults as well as children. Through these means I have attempted to discover how the musical arts education system operates. Learning in this musical arts education system is practical and marked by high efficacy on the part of the learners. Their motivation resides in the desire to participate, and interact. A learner benefits through a combination of both informal and formal learning. Magule are learnt through the informal techniques of observational learning, play, trial-and-error, peer education and cooperative learning. Children observe and imitate through trial-anderror, during play either alone or with other children. Formal education occurs during initiation and in apprenticeship. Community is the bedrock on which cultural practices including the magule find their meaning and purpose. This fact is well documented in the culture and language through proverbs such as: Mutu umodzi siusenza denga (one head cannot hoist up a roof-to successfully accomplish a task one needs the help of others). The overarching objective of the musical arts education system is twofold: To express, communicate and embody the community; and thereby building character. Both community building and character building are geared towards cultivating Umunthu (humanness). Being human (munthu ) is understood as more than a biological fact, but is a qualitative distinction. This distinction is based on whether a person exhibits attitudes and behaviour that shows values for others’ wellbeing, and is able to live morally, in adhering to the society’s values and beliefs. Umunthu is an internal state that manifests externally in khalidwe la bwino (good/moral behaviour). Umunthu and its corresponding behaviour and attitudes, which the culture deems desirable for communal wellness, are obtained through the process of enculturation and manifests in everyday life and in magule . Ultimately, the learners are expected to become fully functional and productive members of the community; equipped with the knowledge, skill, attitudes and experience particular and useful to the community of Jali; able to participate fully in the performances and all that they signify. Learners are expected to posses Umunthu which results in khalidwe la bwino (good behaviour), leading to the transmission and perpetuity of the culture of Jali, specifically through magule.
Open Access
An exposition of musical arts education in Malawi
(University of the Free State, 2013-01) Ligoya, Alinane Mildred; Barz, Gregory; Pretorius, Gerda
English: Musical Arts are a vibrant and integral part of life and culture in the Jali area. Zomba district. Southern Malawi. The musical arts types (magule) are a means by which culturally significant knowledge. attitudes and skills are expressed and transmitted. to ensure the longevity of the way of life in Jali. This is a study of the musical arts education system as it exists in the Jali area. Due to the nature and intimate role of the magule in the culture of Jali, to learn the magule in the Jali area is to learn critical aspects of how and why the culture and everyday life of the community is both informed and re-formed. Inevitably. this is also a study of the culture of people in the area. giving this music education study an ethnographic approach. I observed. documented. and participated in the performance of three magule, namely Malangalanga. Manganje and Mganda. Interviews were conducted with adults as well as children. Through these means I have attempted to discover how the musical arts education system operates. Learning in this musical arts education system is practical and marked by high efficacy on the part of the learners. Their motivation resides in the desire to participate. and interact. A learner benefits through a combination of both informal and formal learning. Magule are learnt through the informal techniques of observational learning. play. trial-and-error. peer education and cooperative learning. Children observe and imitate through trial-and error. during play either alone or with other children. Formal education occurs during initiation and in apprenticeship. Community is the bedrock on which cultural practices including the magule find their meaning and purpose. This fact is well documented in the culture and language through proverbs such as, Mutu umodzi siusenza denge (one head cannot hoist up a roof-to successfully accomplish a task one needs the help of others). The overarching objective of the musical arts education system is twofold, To express. communicate and embody the community; and thereby building character. Both community building and character building are geared towards cultivating Umunthu (humanness). Being human ( munthu) is understood as more than a biological fact. but is a qualitative distinction. This distinction is based on whether a person exhibits attitudes and behaviour that shows values for others' wellbeing. and is able to live morally. in adhering to the society's values and beliefs. Umunthu is an internal state that manifests externally in khalidwe la bwino (good/moral behaviour). Umunthu and its corresponding behaviour and attitudes. which the culture deems desirable for communal wellness, are obtained through the process of enculturation and manifests in everyday life and in magule. Ultimately. the learners are expected to become fully functional and productive members of the community; equipped with the knowledge. skill. attitudes and experience particular and useful to the community of Jali; able to participate fully in the performances and all that they signify. Learners are expected to posses Umunthu which results in khalidwe Ja bwino (good behaviour). leading to the transmission and perpetuity of the culture of Jali. specifically through magule.
Open Access
Gangbe in Badagry, Nigeria: Ogu women’s performance practice, social status, and creative agency
(Cambridge University Press, 2023) Kunnuji, Joseph
Before colonialism, Gbe women enjoyed a social status on par with men. However, there has been a shift in the postcolonial social structure of Gbe societies. Modern capitalism, which accompanied colonial structures, privileged men, eroding many woman-empowering practices. This article examines Ogu women’s marginality through an ethnographic study of gangbe (a musical genre exclusive to married Ogu women). I argue that the sources of Ogu women’s marginality are interlocking, involving oppression stemming from colonial structures and the values of contiguous Yorùbá people. I propose a collaborative intervention that upends typical power structures that privilege Western and Yorùbá ideation over Indigenous Ogu knowledge, values, and practices.
Open Access
Gospel rap and ideology: exploring new paths in critical musicology
(University of the Free State, 2002-11) Viljoen, Martina; Visagie, P. J.; Van den Berg, D. J.
Afrikaans: ARL 991 Vraagstukke van musikale betekenis: 'n ideologie-kritiese benadering Onlangse modelle van musikale betekenis, verteenwoordigend van verskillende dissiplinêre perspektiewe, wissel van semioties/ strukturalisties en semioties/stilisties tot wat as "Nuwe musikologiese" of "postmoderne" modelle getipeer moet word. Hierdie benaderings, wat toenemend gekonfronteer word deur kontekstuele dimensies van musikale betekenis, loop dikwels uit op eensydighede wat 'n spesifieke sosio-historiese of kulturele agenda ooglopend propageer. In die geval van die semioties/stilistiese.-paradigmas, beweeg selfs uitgebreide teorieë oor musikale betekenis nie beduidend verder as die "outonome" teks nie. Terwyl hierdie benaderings die musikale teks óf isoleer óf oorbelas, slaag dit nie daarin om musiek toereikend te tipeer nie. Musiek blyk immers 'n veelkantige, komplekse ideologiese vorm te wees wat gegrondves is in uiteenlopende en ingewikkeld verweefde implikatiewe kontekste wat sowel met die produksie as die resepsie van die teks in verband staan. Na aanleiding van Johan Visagie (1990 & 1996) se benadering tot ideologiese kultuur wil hierdie artikel die grondslae blootlê van 'n inklusiewe analitiese model wat 'gebaseer is op 'n spekulatiewe, dog beredeneerde interpretatiewe ontwerp vir die teoretisering van die verhouding tussen simboliese (semiotiese) inhoud en diskursiewe sosio-kulturele kontekste, sonder om die belang te ontken van ander perspektieweIkontekste wat deel van 'n "argeologie van diskoers" vorm. ARL 992 "Verpak": ideologiese stelling en figuratiewe betekenis in gospel rap As deel van die kritiek teen die universalistiese aansprake en meester-narratiewe van modernisme wat dominante sosiale ordes en magstrukture beskerm, is daar binne onlangse musikologiese studies 'n toenemende bewustheid van die verskillende ideologiese kragte wat deur die musikale teks verswyg word. Terwyl hierdie insigte aanleiding gee tot 'n aansienlike verbreding van die musikologiese agenda, laat verklarings van die ideologiese fenomeen soos toegepas binne 'n sosiaal-gerigte analise van musikale betekenis nóg ruimte vir 'n gesofistikeerde formulering van sosiale kritiek, nóg vir subtieler vorme van diskoers analise. Dikwels berus konstruksies van ideologiese mag op verskraalde, basiese modelle van magsverhoudinge wat op die musikale teks en konteks geïmponeer word. In hierdie artikel word beoog om die toepassing te demonstreer van noorkoepelende ideologie-kritiese raamwerk wat ontwerp is om 'n omvattende en gedifferensieerde verslag te lewer van kragte aanwesig binne ideologiese kultuur. Gebaseer op Johann Visagie se "Ideologiese Topografie van Moderniteit" (ITM) word hierdie kartering van ideologiese kultuur verder uitgebrei met 'n afsonderlike dimensie van Visagie se model, naamlik 'n figuratiewe semiotiek van ideologiese diskoers. Hierdie teoretiese skema word gedemonstreer aan die hand van 'n uitgebreide analise van 'n prototipiese voorbeeld, WRAPPED UP deur die gospel groep Dawkins & Dawkins. As metafories middelike handeling van kontemporêrreligieuse betekenis, word hierdie voorbeeld van gospel rap ontleed as 'n direkte dog komplekse manifestering van strukturele dubbelsinnigheid. ARL 993 Ideologies gekompromitteerde diskoers: tussen ghetto en woestyn Aan die hand van Ricoeur se hermeneutiese "ompad" via die onthullende mag van mite, simbool en narratief, word daar in hierdie artikel gestreef na 'n meer omvattende verstaan van identiteit. Laasgenoemde word bemiddel deur die interpretatiewe perspektiewe van ideologiekritiek en figuratiewe analise, hier aangewend ter formulering van 'n oorspronklike lesing van die gospel rap teks. As deel van die ghetto/woestyn tema word prominente argetipiese figure, verwant aan posture karakteristiek van die menslike bestaan, ondersoek. Via 'n kontekstuele, intermediale lesing van musikale parameters word die narratiewe strekking van die rap lirieke !lg-!!1terpreteer, en trouens her-figureer. Hierdie benadering beklemtoon musiek se rol as 'n- sosiale simboliese proses wat betekenis performatief kommunikeer, skep, kritiseer of selfs transformeer. Dit openbaar terselfdertyd musiek se vermoë om te funksioneer as 'n dinamiese middelganger tot die instandhouding of omverwerping van sosio-religieuse "wêrelde" en "wêreldbeskouïngs". Hierdie metode stem ooreen met Ricoeur se "narratiewe hermeneutiek" wat gebaseer is op 'n altyd hernieude interpretasie van simboliese gebeure binne die wêreld van die teks. ARL 994 Stad van engele: posturale perspektiewe op 'They all fall down' Vanuit die raamwerk van Johann Visagie se benadering tot ideologiese kultuur word die figuur van die engel in GRITS se "They All Fall Down" ontleed as deel van 'n kompleks van inter-verwante sosio-kulturele diskoerse. In hierdie verband word die funksionering' van engele bestudeer as 'n nuwe arbeidsproses wat die dra van boodskappe behels, en waarin die bestaan erken word van sowel die donker engele van ideologie as die apokaliptiese engele van die geskiedenis. Via 'n figuratiewe semiotiek van ideologiese diskoers word die engel verder bestudeer as 'n semiotiese konfigurasie wat ideologiese betekenis deurgee. In hierdie opsig word metaforiese posture, tipies van eksistensiële gebeure wat herhalende patrone van die menslike kondisie simboliseer, in verband gebring met 'n spektrum van argetipiese figure in hierdie teks. Morbiede beelde, spesifiek aangewend binne die visuele en verbale parameters van die video, demonstreer dat produkte van die massa-media as "kaarte van realiteit" mag funksioneer. ARL995 Ideologie en tekstualiteit: representasies van 'Nuwe' Suid-Afrikaanse musikologie Aan die hand van Ricoeur se konsep van die teks gaan hierdie artikel uit van die hipotese dat enige poging om die verhouding tussen musiek en samelewing te bepaal, wesenlik filosofies in aard is. Soos talle ander kategorieë is die grense van "die musikale" onderhandelbaar en vloeibaar, en dit kan (goedskiks) op verskillende maniere bepaal word. Kultureel verwant en kultureelonderhandel is sodanige spekulatiewe konstrukte egter relatief tot empiriese gegewens wat deur intra-tekstuele parameters voorgestaan word. 'n Kritiese bevraagtekening van interpretatiewe standpunte wat 'n polities oorbelaste terrein soos post-apartheid Suid- Afrika ondersoek, belig openlik ideologiese posisies binne die huidige musikologie. As 'n komplekse voorbeeld van 'n spesifiek Suid-Afrikaanse teks-konteks konstruk bied Bongo Maffin se inheemse kwaitolied, "Kung' a khona" ("Die Weg") aansienlike uitdaging aan ontleding. Pogings om dit toe te lig roep interpretatiewe kontekste op wat ons met fundamenteel hermeneutiese vrae konfronteer, en terselfdertyd die grense van 'n transformatiewe identiteitspolitiek deurpeil.
Open Access
Griqua hymnody: a musical ethnography of Griqua identity through song
(University of the Free State, 2015-01) Meyer, Chester Aubrey; Barz, G.
English: The study presents the hymnodic practises of the Griqua community belonging to the Kranshoek based Griqua Independent Church. The research traces the history of the Griqua and their hymns from eighteenth century missionaries until the spiritual and political work of A.A.S. Le Fleur I in the twentieth century. Issues regarding Griqua identity and the effects of colonisation and apartheid are highlighted and placed within the current South African context. The research and fieldwork further demonstrate that hymnody becomes the manner in which the Griqua community perform their identity as a marginalised community in South Africa. Ethnographic narratives illustrate the true nature of the Griqua hymn as well as the profound effect it has on the communal and personal lives of this community. The distinctive performance practice of these hymns referred to by the Griqua community as lof, played a pivotal part in the formation and sustaining of the twentieth century Griqua ethnic identity and remains a marker of Griqua identity for the followers of Le Fleur today. The study furthermore investigates the role hymnody fulfils in the everyday lives of members as well as the manner in which it attracts new members and retains the Griqua youth. The musical ethnography utilized in this study positions Griqua hymnody as a unique South African expressive culture.
Open Access
A holistic framework for beginner instrumentalists: synergising product and process by way of meaningful learning experiences
(University of the Free State, 2021-11) Novella, Angelique; Froneman, A.; Pretorius, G. G.
This study investigated an alternative to a disembodied, individualist philosophy used in traditional beginner instrumental instruction, in order to make suggestions for a wider holistic and inclusive approach to meaningful teaching and learning. Despite advancements made in situating the whole student, embodied and inter(en)active, in the process of instrumental learning, there still seems to be a lack of strategies for practical application. By making use of philosophical, theoretical and educational developments with regards to balancing body, mind, environmental and social transactions in instrumental music education, I suggest an extended embodied framework in beginner instrumental teaching and learning which is aligned to the way in which a young child learns. Making use of an integrative literature review, both established and recent material was reviewed, critiqued and synthesised to create an extended embodied framework. Considering suggested strategies made in this study opportunities can be created for the young student to engage in extended meaning-making experiences.
Open Access
𝘎𝘢𝘯𝘨𝘣𝘦 in Badagry, Nigeria: Ogu women’s performance practice, social status, and creative agency
(Cambridge University Press, 2023) Kunnuji, Joseph, JOSEPH
Before colonialism, Gbe women enjoyed a social status on par with men. However, there has been a shift in the postcolonial social structure of Gbe societies. Modern capitalism, which accompanied colonial structures, privileged men, eroding many woman-empowering practices. This article examines Ogu women’s marginality through an ethnographic study of 𝘨𝘢𝘯𝘨𝘣𝘦 (a musical genre exclusive to married Ogu women). I argue that the sources of Ogu women’s marginality are interlocking, involving oppression stemming from colonial structures and the values of contiguous Yorùbá people. I propose a collaborative intervention that upends typical power structures that privilege Western and Yorùbá ideation over Indigenous Ogu knowledge, values, and practices.
Open Access
The influence of the madrigali moderni on Johann Jacob Froberger's keyboard music
(University of the Free State, 2011-11) Vinke, Linda Frances; Coulter, John Reid; Viljoen, Martina
English: The research is based upon the hypothesis that the keyboard music of Johann Jacob Froberger (1616-1667) was significantly influenced by the music of the Italian secular madrigals of the late 16th and early 17th centuries. In the late 16th and early 17th centuries, madrigal composers were at the forefront of musical development and it is plausible that their innovations should have had a significant influence on Froberger, contributing to the development of his expressive keyboard style. The madrigal composers used various new compositional techniques, many of them aimed at expressing emotions. Characteristics of the style of the madrigali moderni (a term used by Frescobaldi in the 1637 preface to Toccate e Partite, Libro Primo) include the variation of tempo for expressive purposes, word painting, new types of ornamentation, adventurous harmony, chromaticism and dissonance and quickly changing rhythmic and textural features. The aim of this thesis is to show how Froberger adapted these techniques for use in his keyboard style. In order to test the hypothesis, I researched the musical characteristics of the Italian secular madrigals of the late 16th and early 17th centuries. Some Italian vocal music other than secular madrigals was analyzed and some madrigals and other vocal music from a little earlier or a little later were also consulted. However, the vast majority of the examples that I have used to illustrate my findings come from Italian secular madrigals composed (or at least published) in the late 16th and early 17th century when the composition of madrigals was at its peak in both volume and brilliance. A detailed style-critical study of the entire keyboard oeuvre of Froberger was undertaken to determine if the various characteristics of this vocal music could be found in his music. Some of Froberger’s (Italian) predecessors on the keyboard, such as de Macque, Mayone, Trabaci, Frescobaldi and Michelangelo Rossi seem also to have been influenced by the Italian madrigalists and where appropriate, I have included examples from the works of these composers. Before the main body of the research, I have included a chapter on Froberger’s life and travels; a comprehensive collection of the information that is currently known. In recent years, some fascinating research has been undertaken that has thrown light on Froberger’s life and travels, but all the information has not previously been presented in a chronological format. The main body of the research is divided into four sections, each of which discusses a particular musical aspect of the madrigals and shows similar usage in Froberger’s works. The first of these sections discusses the use of “madrigalisms” for expressive ends. This chapter analyses some of the more commonly used word painting devices and shows their use in madrigals and in Froberger’s music. The second of these sections discusses sprezzatura in the wider meaning given to it by Caccini in his Nuove Musiche (1601/2), where it encompasses not only rhapsodic tempo fluctuations but also the use of dissonance for expressive purposes. The third section discusses the use of ornaments in the madrigals and shows how Froberger used a variety of specifically Italian vocal ornaments in his music, as well as the more standard range of ornaments used by keyboard composers. The fourth section describes the continuous invention and diversity present in the madrigals and in Froberger’s music. This invention manifests itself in, amongst other things, the use of a wide variety of rhythms and textures to portray the agitation of the passions and a delight in complexity. Within these sections, the theories of the time are discussed, examples are given from the madrigals and parallel examples are drawn from Froberger’s music. At the end of the thesis four case studies are presented to show how the hypothesis fits entire works by Froberger. Froberger’s oeuvre can arguably be divided into laments (and similar forms), partitas, contrapuntal works and toccatas. The case studies are intended to represent one of each of these forms. In each of the studies, certain aspects of the music are compared to the madrigals and parallels are drawn to extra-musical events or phenomena in order to place the particular composition in its historical and social context.
Open Access
An investigation into a proposed syllabus for tuba performance studies at South African universities
(University of the Free State, 2021-11) Foster, George; De Villiers, Frelet; Golson, Phil
A primary function of syllabi for university music performance studies is the prescription of both compulsory and recommended module materials. However, as South African universities lack comprehensive syllabi for tuba performance studies, the aim of this study was the proposition of such a syllabus for use in the various institutions. The key research problem focused on the aspects that ought to be considered in the compilation of these syllabi. The emerging sub-questions sought to determine the extent to which lecturers use these syllabi to prescribe materials to their students; the various components, design process and limitations of the existing syllabi, and the systems/tools available for the grading of solo tuba repertoire as an integral process in syllabus compilation. In the absence of a suitable system for this purpose of grading solo repertoire for various years of university study, I designed a system based on existing systems, data from respondents, all informed by my experience as a university tuba lecturer and performer. I performed a literature review and complemented this by conducting interviews with national and international tuba lecturers who were selected according to specific criteria. Through the integration of the literature, collected documents and the thematic analysis of the interview transcripts, I suggested a framework for the layout, and ideas for compilation of the administrative and music-orientated components of a syllabus for university tuba performance studies. By the utilisation of the syllabus compilation suggestions and framework, university tuba lecturers are hereby presented with a source for the compilation of their own syllabi. Additionally, they have at their disposal a system that can accurately and comprehensively grade various repertoire pieces that may be used as the content of repertoire lists within their syllabi, and from which various works may be chosen to fulfil the requirements of their specific modules.