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

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1.2 Communicating Identity and Difference Figure 1.5: Programme 0/ The African Native Choir (Bernth Lindfors in: Erlmann, 1999: 88) 15
16 The Mrican Native Choir (1892) and Early Manifestations of Black Middle Class Identity A further source of information may be found in a review written by E. Gowing-Scopes for The Ludgate MonthlY entitled "The Music of Africa", describing another similar programme given by the African Native Choir. Scopes offers the following detailed list of the pieces performed, together with his comments: uTixo Mkulu "is the first music known to have been sung by Christian Kaffirs, and the original composition of Ntsikana, the first convert amongst the Amaxosa tribe". Singamawele "we are twins, is a song and dance ... The Natives are exceedingly fond of singing and dancing, and this item is typical of how they spontaneously, and at any time, commence their amusements". [Q Qa Qa Qa] "The choir sings a short story in the Kaffir language, giving a striking illustration of the clicks used in the native tongue. It is adapted to the music of Schumann's 'Merry Peasant.'" A typical Kaffir wedding song "is purely native, and the harmonies have not been, in any way, Europeanised; it is sung at the wedding feast by the friends of the bridegroom. The bride, whose sobs can be heard amid the general rejoicing, is finally led away by two of the guests to her husband's 'mgwelo' which awaits her". Mgwelo engena tentyi "is a wayside Kaffir song and dance. When travelling by bullock wagon in Africa, the oxen are unyoked at intervals and allowed to graze and rest, or are outspanned - as the local term has it. The scene is supposed to take place when the Kaffirs are seated round their fires, awaiting the time for inspanning, whilst the oxen are grazing and the skoff is boiling in the 'pot.'" Lutukela "a duet composed by a Kaffir. The style of this piece is very popular amongst the Natives, they are fond of accompanying solos with their voices, and, as a rule, take the parts very clearly, without training whatever". Kaffir Travesty "Kaffirs are very fond of mimicry, and are always ready to pick up anything to imitate. An item entided the 'Kaffir Travesty,' is a purely Kafftt song, and is their idea of the English street cry of 'Hot Cross Buns!' Its origin is doubtful". Molokoda "means good-bye. The natives of South Africa, when travelling in parties, have a singular habit of singing-keeping time to the melody with their feet. Standing upon a hill, you can hear their peculiar chant when the band is miles away. 'Molokoda' is a representation of the effect produced by the gradual approach and disappearance of one of these parties, who have just left their kraals to go into the towns in search of employment. Perfect stillness, on the part of the audience, is necessary during the singing of this piece". On the Mountain "is a quintette. It was requested that the choir should give a litde more English in the programme; this quintette has, therefore, been introduced in response to this request, and to please those who are so fond of their mother tongue". Lovedale "is a Kaffir solo with vocal accompaniment. It is another composition of a Kafftr, and describes the beauties of the country surrounding Lovedale College, Cape Colony, where seven of the choir were educated. It is also another illustration of the native fondness for vocally accompanied solos". Does anybody here know the Big Baboon? "is a solo and chorus. It was specially composed for the African Native Choir by James Hyde, King Williamstown - one of the, if not the first musician in South Africa - after he had attended one of their concerts given in his town". Mrica "is a Kaffir quartette. The London Times, in criticising the African Native Choir Concert, said: 'A quartette, or rather a solo accompanied by three voices, bore so close a resemblance to Rossini's 'Cujus animam' that it is difficult to accept it as a specimen of native music at all.' But this quartette is the composition of a Kaffir who had never heard of Rossini or his 'Stabat Mater,' and did not dream that such a selection as 'Cujus animam' was in existence. It is descriptive of how the natives hum some portions of their songs". Good News "is another English piece, but one given in true Kaffir style". Send the Light "is a solo and chorus, the words and music having been composed expressly for the European tour of the African Native Choir, by gendemen in South Africa who were wishful the enterprise should be a success".51 51 E. Gowing-Scopes, "African Music", Ludgate MonthlY 2 (1891-92): 107-12; quoted in V. Erlmann, 1999a: 87-9.
Page 1 and 2: South African Choral Music (Amakway
Page 3 and 4: 11 Preface
Page 5 and 6: IV 2.2.3 Employment and the Work Pl
Page 7 and 8: VI 8 Preface FROM SCHOOLS TO COMMUN
Page 9: VIII 12.2.5.2 Towards an African Op
Page 13: Introduction Amakwaya and the Aspec
Page 17 and 18: Introduction XVII mainly concerned
Page 19: Introduction XIX who had been expos
Page 25 and 26: Outline xxv group prioritised probl
Page 27 and 28: Outline XXVII Music (6.2). The part
Page 30: :xxx Preface fields, were a source
Page 35 and 36: 6 The Mrican Native Choir (1892) an
Page 40 and 41: 1.2 Communicating Identity and Diff
Page 43: 14 The Mrican Native Choir (1892) a
Page 49 and 50: 20 The Mrican Native Choir (1892) a
Page 52: 1.2 Communicating Identity and Diff
Page 57: 28 The African Native Choir (1892)
Page 63: 34 Becoming Amakholwa: Mission Comm
Page 66 and 67: 2.1 Setting the Scene: Early Missio
Page 68: 2.1 Setting the Scene: Early Missio
Page 71 and 72: 42 Becoming Amakholwa: Mission Comm
Page 76 and 77: 2.2 Becoming Amakholwa 47 were abou
Page 78 and 79: 2.2 Becoming Amakholwa 49 published
Page 86 and 87: 2.3 Images ofthe Other 57 'Heathen'
Page 88 and 89: 2.3 Images ofthe Other 59 aim to "e
Page 91 and 92: Shaping a New World: The Mrican Mid
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66 Shaping a New World: The African
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68 Shaping a New World: The Mrican
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3.2 The Applications for the Exempt
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3.2 The Applications for the Exempt
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3.3 Between Two Worlds: Exclusivene
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3.4 Summary 3.3.3 Isolation of the
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Negotiating Tradition and the Moder
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4.1 The Mrican Yearly Register: A D
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4.1 The Mrican Yearly Register: A D
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4.1 The African Yearly Register: A
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104 Negotiating Tradition and the M
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4.2 Emancipation and the Quest for
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4.3 Music of the Elite: Manifestati
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4.3 Music ofthe Elite: Manifestatio
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PART TWO Musi : The ntext of e.. rm
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5.1 Umculo amakholwa - "Christian M
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5.2 Early Musical Encounters: Missi
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130 Music at the Mission Station an
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5.5 Musical Innovations, Structural
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5.6 Summary 5.6 Summary I have trac
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6.1 The Establishment ofAdams Colle
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158 Music Education at Adams Colleg
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6.2 The Content ofMusic Education 1
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168 Music Education at Adams Colleg
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6.2 The Content ofMusic Education I
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6.2 The Content of Music Education
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6.3 Summary 175 More recently, Khab
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7.1 Organising and Moralising Leisu
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7.1 Organising and Moralising Leisu
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7.2 Choral Music, Performance, Disc
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7.2 Choral Music, Perfonnance, Disc
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188 Leisure-time and the Role of Ch
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7.2 Choral Music, Performance, Disc
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202 From Schools to Communities: Th
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8.2 School Choir Contests and the R
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8.3 Adult and Community Choirs then
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8.3 Adult and Cormnunity Choirs 223
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8.3 Adult and Community Choirs whic
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8.3 Adult and Community Choirs 8.3.
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8.3 Adult and Community Choirs ...
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238 Competition: Perfonnance, Meani
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9.2 Competition Transformed 241 art
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9.3 The Lived Experience: Exploring
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254 Competition: Pecfonnance, Meani
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9.4 Competition: the Negative Aspec
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9.4 Competition: the Negative Aspec
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268 Competition: Performance, Meani
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270 Competition: Performance, Meani
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274 The Sectionalised Repertoire of
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284 Figure 11.2: Rural wedding in N
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286 Neo-traditional Songs All songs
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288 Neo-traditional Songs associate
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292 " JI 11.2.5 Falling Melody Line
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296 11.3 Summary Neo-traditional So
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300 Mrican Eclectic Compositions I
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302 Mrican Eclectic Compositions Wh
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12.1 The Process of Composing 305 a
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12.2 Periodisation of African Eclec
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12.2 Periodisation ofMrican Eclecti
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312 Mrican Eclectic Compositions ma
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316 Mrican Eclectic Compositions 12
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324 Mrican Eclectic Compositions th
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12.2 Periodisation ofMrican Eclecti
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338 Mrican Eclectic Compositions (b
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342 Figure 12.28: Peiformance rif H
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12.3 Summary There is a small but i
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12.3 Summary 347 Western. It was on
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13.1 Reconsidering Repertoire: Khab
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354 Westem Repertoire interval is t
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356 Western Repertoire Judging from
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358 Westem Repertoire group's commi
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13.2 The Significance ofOratorio: M
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368 Western Repertoire George Mxada
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370 Western Repertoire creation of
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372 Western Repertoire form. Opera
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374 Westem Repertoire really suffic
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A) The Need for Critical Developmen
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A) The Need for Critical Developmen
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B) Some Perspectives on Future Deve
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4. Books and Articles 391 Benson, M
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4. Books and Articles 395 Mngoma, K
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398 Bibliography Reid, D. J. 1871.
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400 Phelelani Mnomiya Peter Morake
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402 Johannesburg; 7 - 9 December 20
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