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South African Choral Music (Amakwaya): Song, Contest and the ...

South African Choral Music (Amakwaya): Song, Contest and the ...

South African Choral Music (Amakwaya): Song, Contest and the

South African Choral Music (Amakwaya): Song, Contest and the Formation of Identity Submitted by Markus Detterbeck for the degree of Doctor of Philosophy of the University of Natal Durban December 2002

  • Page 2 and 3: Abstract Preface Abstract Amakwqya
  • Page 4 and 5: T able of Contents PREFACE Abstract
  • Page 6 and 7: T able of Contents 5 PART TWO: MUSI
  • Page 8 and 9: Table of Contents 10 PART THREE: RE
  • Page 12 and 13: XII He is proud about the fact that
  • Page 15: Introduction This point is related
  • Page 18 and 19: XVIII Preface Ethnomusicology and t
  • Page 23: Introduction :XXIII Sharing people'
  • Page 26 and 27: XXVI Preface Chapter 2 traces the o
  • Page 28: XXVIII Preface composition (12.1),
  • Page 32: 1 The Mrican Native Choir (1892) an
  • Page 36: 1.1 Learning from the Black America
  • Page 41: 12 The Mrican Native Choir (1892) a
  • Page 44 and 45: 1.2 Communicating Identity and Diff
  • Page 46: 1.2 Communicating Identity and Diff
  • Page 50: 1.2 Communicating Identity and Diff
  • Page 54:

    1.2 Communicating Identity and Diff

  • Page 61:

    32 1.3 Summary The Mrican Native Ch

  • Page 65 and 66:

    36 Becoming Amakholwa: Mission Comm

  • Page 67 and 68:

    38 Becoming Amakholwa: Mission Comm

  • Page 70 and 71:

    2.1 Setting the Scene: Early Missio

  • Page 72 and 73:

    2.2 Becoming Amakholwa during the s

  • Page 74:

    2.2 Becoming Amakholwa 45 Western s

  • Page 77 and 78:

    48 Becoming Amakholwa: Mission Comm

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    50 Becoming Amakholwa: Mission Comm

  • Page 82 and 83:

    2.2 Becoming Amakholwa trapped in t

  • Page 84:

    2.3 Images ofthe Other 55 Christian

  • Page 87 and 88:

    58 Becoming Amakholwa: Mission Comm

  • Page 89:

    60 Becoming Amakholwa: Mission Comm

  • Page 92:

    64 Shaping a New World: The Mrican

  • Page 95 and 96:

    3.1 Theorising Identity motho ka ba

  • Page 98 and 99:

    70 Shaping a New World: The Mrican

  • Page 100 and 101:

    72 Shaping a New World: The Mrican

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    74 Shaping a New World: The Mrican

  • Page 105:

    3.2 The Applications for the Exempt

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    3.2 The Applications for the Exempt

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    3.2 The Applications for the Exempt

  • Page 115 and 116:

    3.3 Between Two Worlds: Exclusivene

  • Page 118 and 119:

    90 Shaping a New World: The Mrican

  • Page 120 and 121:

    92 Shaping a New World: The Mrican

  • Page 124 and 125:

    96 Negotiating Tradition and the Mo

  • Page 126 and 127:

    98 Negotiating Tradition and the Mo

  • Page 128 and 129:

    100 Negotiating Tradition and the M

  • Page 131 and 132:

    4.1 The African Yearly Register: A

  • Page 133:

    4.1 The Mrican Yearly Register: A D

  • Page 138 and 139:

    110 Negotiating Tradition and the M

  • Page 140 and 141:

    112 Negotiating Tradition and the M

  • Page 142 and 143:

    114 Negotiating Tradition and the M

  • Page 144 and 145:

    116 Negotiating Tradition and the M

  • Page 146:

    118 4.4 Summary Negotiating Traditi

  • Page 150 and 151:

    124 Music at the Mission Station an

  • Page 152 and 153:

    126 Music at the Mission Station an

  • Page 154:

    128 Music at the Mission Station an

  • Page 157 and 158:

    5.3 To Sing Like a Westerner: the P

  • Page 159 and 160:

    5.3 To Sing Like a Westerner: the P

  • Page 161 and 162:

    5.3 To Sing Like a Westerner: the P

  • Page 163 and 164:

    5.3 To Sing Like a Westerner: the P

  • Page 165 and 166:

    5.3 To Sing Like a Westerner: the P

  • Page 167 and 168:

    5.4 Hymn Singing: Medium of Promoti

  • Page 169 and 170:

    5.4 Hymn Singing: Medium of Promoti

  • Page 172:

    146 Music at the Mission Station an

  • Page 176 and 177:

    150 Music at the Mission Station an

  • Page 179 and 180:

    154 Music Education at Adams Colleg

  • Page 182 and 183:

    6.1 The Establishment ofAdams Colle

  • Page 186:

    6.2 The Content ofMusic Education 1

  • Page 192 and 193:

    6.2 The Content ofMusic Education 6

  • Page 194:

    6.2 The Content ofMusic Education 1

  • Page 197 and 198:

    172 Music Education at Adams Colleg

  • Page 199 and 200:

    174 Music Education at Adams Colleg

  • Page 202 and 203:

    178 Leisure-time and the Role of Ch

  • Page 204 and 205:

    180 Leiswe-time and the Role of Cho

  • Page 206 and 207:

    182 Leisure-time and the Role of Ch

  • Page 208 and 209:

    184 Leisure-time and the Role of Ch

  • Page 210:

    186 Leisure-time and the Role of Ch

  • Page 213 and 214:

    7.2 Choral Music, Perfonnance, Disc

  • Page 215 and 216:

    7.2 Choral Music, Performance, Disc

  • Page 219:

    7.2 Choral Music, Performance, Disc

  • Page 223:

    7.3 Summary Witness" - which were d

  • Page 229 and 230:

    8.1 Mark Radebe and the Transvaal E

  • Page 234:

    210 From Schools to Communities: Th

  • Page 239:

    8.2 School Choir Contests and the R

  • Page 242 and 243:

    218 From Schools to Communities: Th

  • Page 246 and 247:

    222 From Schools to Communities: Th

  • Page 248 and 249:

    224 From Schools to Communities: Th

  • Page 250:

    226 From Schools to Communities: Th

  • Page 254 and 255:

    230 From Schools to Communities: Th

  • Page 257 and 258:

    8.3 Adult and Community Choirs The

  • Page 260:

    236 From Schools to Communities: Th

  • Page 263:

    9.1 Traditional Roots 9.1 Tradition

  • Page 266 and 267:

    242 Competition: Performance, Meani

  • Page 269 and 270:

    9.3 The Lived Experience: Exploring

  • Page 272 and 273:

    248 Competition: Performance, Meani

  • Page 274 and 275:

    250 Competition: Performance, Meani

  • Page 277 and 278:

    9.3 The Lived Experience: Exploring

  • Page 279 and 280:

    9.3 The Lived Experience: Exploring

  • Page 283:

    9.3 The Lived Experience: Exploring

  • Page 286 and 287:

    262 Competition: Perfonnance, Meani

  • Page 288 and 289:

    264 Competition: Perfonnance, Meani

  • Page 290:

    266 Competition: Perfonnance, Meani

  • Page 293 and 294:

    9.4 Summary 9.4 Summary We can now

  • Page 295:

    PART THREE Rep rtoire: Nag tiati n,

  • Page 298 and 299:

    10.2 Visual Representation experien

  • Page 300 and 301:

    10.3 Phenomenology ofthe Sectionali

  • Page 302 and 303:

    10.3 Phenomenology ofthe Sectionali

  • Page 305:

    282 Neo-traditional Songs Promoted

  • Page 308 and 309:

    11.1 Tracing the Historical Roots:

  • Page 310 and 311:

    11.1 Tracing the Historical Roots:

  • Page 312:

    11.2 Factors of Negotiation: Mrican

  • Page 318 and 319:

    11.2 Factors of Negotiation: Mrican

  • Page 321:

    298 Mrican Eclectic Compositions wi

  • Page 324 and 325:

    12.1 The Process of Composing 301 r

  • Page 326:

    12.1 The Process of Composing of th

  • Page 329 and 330:

    306 12.2 Periodisation of Mrican Ec

  • Page 331 and 332:

    308 African Eclectic Compositions a

  • Page 334 and 335:

    12.2 Periodisation ofAfrican Eclect

  • Page 336:

    12.2 Periodisation of African Eclec

  • Page 346 and 347:

    12.2 Periodisation ofAfrican Eclect

  • Page 349:

    326 Figure 12.14: RI: Ca/uza, 1968

  • Page 360 and 361:

    12.2 Periodisation ofAfrican Eclect

  • Page 362:

    12.2 Periodisation ofAfrican Eclect

  • Page 366:

    12.2 Periodisation ofAfrican Eclect

  • Page 369 and 370:

    346 12.3 Summary Mrican Eclectic Co

  • Page 371:

    348 Mrican Eclectic Compositions to

  • Page 375:

    352 Westem Repertoire the only yard

  • Page 378 and 379:

    13.1 Reconsidering Repertoire: Khab

  • Page 380 and 381:

    13.2 The Significance ofOratorio: M

  • Page 382:

    13.2 The Significance ofOratorio: M

  • Page 386:

    13.2 The Significance ofOratorio: M

  • Page 392 and 393:

    13.3 The Latest Development: Opera

  • Page 394 and 395:

    13.3 The Latest Development: Opera

  • Page 396 and 397:

    13.3 The Latest Development: Opera

  • Page 398:

    13.4 Summary 375 Works by Mendelsso

  • Page 402 and 403:

    380 Epilogue where to start? [But]

  • Page 404 and 405:

    382 Epilogue The unfortunate effect

  • Page 406 and 407:

    384 Epilogue that they are the best

  • Page 408 and 409:

    386 Epilogue we can also reach a st

  • Page 410:

    388 Epilogue of its important histo

  • Page 414:

    392 Bibliography Dargie, D. 1984. '

  • Page 418:

    396 Bibliography Schoeman, K. ed. 1

  • Page 421 and 422:

    6. Interviews and Personal Communic

  • Page 423 and 424:

    7. Interviews with Choristers (Ques

Ye Shall Have a Song - Federal Way Chorale
Choral 1,5,6 - New England Conservatorium of Music
CHORAL MUSIC & PRO AUDIO - Kempke's Music Service
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Special Choral Musical Offerings Postcard 2013 – 2014
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CHORAL & WORSHIP RESOURCES - Alfred Music Publishing
CHORAL MUSIC - the Theodore Presser Company
2011 Choral Newsletter - MSU College of Music - Michigan State ...
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South African Psychiatry - August 2018
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