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

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T able of Contents 5 PART TWO: MUSIC: THE CONTEXT OF PERFORMANCE MUSIC AT THE MISSION STATION AND THE IMPORTANCE OF THE HYMN 123 5.1 Umculo amakholwa - "Christian Music and Music of the Whites" 124 5.2 Early Musical Encounters: Missionaries and their Music 126 5.2.1 Historical Development of the Hymn 128 5.2.2 The American Revival Hymn: Moody and Sankey 130 5.3 To Sing Like a Westerner: the Practice ofSinging Hymns and Psalms 131 5.3.1 Antiphons, Psalmody and African Vocal Tradition 133 5.3.2 The Impact ofLanguage: African Hymnbooks and the Translation ofHymns 138 5.4 Hymn Singing: Medium of Promoting Christianity 141 5.5 Musical Innovations, Structural Influences and the Secularisation of the Hymn 144 5.5.1 Message Transformed: Songs ofProtest and Freedom 147 5.6 Summary 151 6 MUSIC EDUCATION AT ADAMS COLLEGE 153 6.1 The Establishment ofAdams College 155 6.1.1 The American Board Mission 155 6.1.2 Amanzimtoti Mission and Adams College 157 6.2 The Content ofMusic Education 159 6.2.1 The Early Years 159 6.2.2 Broadening the Content ofMusic Education: The College ofMusic at Adams College 163 6.2.3 Tonic Sol-fa: Historical Development of a Musical Tool 167 6.2.4 Traditional Music and Fieldwork 172 6.3 Summary 174 7 LEISURE-TIME AND THE ROLE OF CHORAL SINGING: WITH SPECIAL REFERENCE TO ADAMS COLLEGE 177 7.1 Organising and Moralising Leisure-time 7.1.1 The House System 7.1.2 Sunday Schools 7.1.3 Scouting, Pathfinders and Wayfarers 7.2 Choral Music, Performance, Discipline and the Role ofSinging 7.2.1 Singing, Drill Exercises and Discipline 7.2.2 Choirs: Tours and Repertoire 7.2.3 Representing the Alma Mater 7.2.4 The Structure of the Repertoire 7.3 Summary v 177 179 180 180 183 185 190 192 196 200
VI 8 Preface FROM SCHOOLS TO COMMUNITIES: THE HISTORY OF AMAKwAYA COMPETITION 201 8.1 Mark Radebe and the Transvaal Eisteddfod 8.2 School Choir Contests and the Role ofTeachers' Associations 8.2.1 ATASA and the National Music Eisteddfod 8.2.2 Post-Apartheid Developments in School Choir Competitions 8.3 Adult and Community Choirs 8.3.1 Ray Phillips and the Organisation ofLeisure-time 8.3.2 TheJohannesburg Bantu Music Festival 8.3.3 Khabi Mngoma and the National Choir Festival 8.3.3 Khabi Mngoma and the National Choir Festival 8.4 Summary 9 COMPETITION: PERFORMANCE, MEANING AND MOTIVATION 9.1 Traditional Roots 9.1 Traditional Roots 9.2 Competition Transformed 9.3 The Lived Experience: Exploring the Importance ofCompetition 9.3.1 The Motivation 9.3.1.1 Seeing Places, Meeting People and a Sense ofBelonging 9.3.1.2 Competition: Spirited Measuring 9.3.1.3 Being at Centre-Stage 9.3.1.4 To Be Part ofa Winning Team 9.3.1.5 Being a Soloist: to Showcase Talent and Become Popular 9.3.1.6 Competition - a Learning Experience 9.3.2 The Process 9.3.2.1 How to Win a Competition 9.3.2.2 To Please the Adjudicators - to Fight the Adjudicators 9.3.2.3 To Safeguard Knowledge: Keeping Other Choirs at Bay 9.4 Competition: the Negative Aspects 9.4.1 Competition Discourages Sustained Choral Activity 9.4.2 A Limited Body ofRepertoire 9.4.3 Competition: a Constricting Factor? 9.4 Summary 203 209 213 216 218 219 224 228 229 235 237 238 239 240 242 244 245 247 249 250 251 253 255 255 258 261 263 264 264 266 269
Page 1 and 2: South African Choral Music (Amakway
Page 3 and 4: 11 Preface
Page 5: IV 2.2.3 Employment and the Work Pl
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 and 44: 14 The Mrican Native Choir (1892) a
Page 52: 1.2 Communicating Identity and Diff
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28 The African Native Choir (1892)
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34 Becoming Amakholwa: Mission Comm
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2.1 Setting the Scene: Early Missio
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2.1 Setting the Scene: Early Missio
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2.2 Becoming Amakholwa 47 were abou
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2.2 Becoming Amakholwa 49 published
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2.3 Images ofthe Other 57 'Heathen'
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2.3 Images ofthe Other 59 aim to "e
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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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South African Choral Music (Amakwaya): Song, Contest and the ...

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