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

Table of Contents
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PART THREE:
REPERTOIRE:
NEGOTIATION, TRADITION AND THE MODERN
THE SECTIONALISED REPERTOIRE OF AMAKwAYA
10.1 The Sectionalised Repertoire
10.2 Visual Representation
10.3 Phenomenology of the Sectionalised Repertoire
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NEO-TRADITIONAL SONGS
11.1 Tracing the Historical Roots: the Process of a Traditional Zulu Wedding 284
11.2 Factors ofNegotiation: African and Western Elements in Modernised Wedding Songs
11.2.1 Oral Culture
11.2.2 Cyclic Form and Repetition
11.2.3 Call-Response
11.2.4 Interlocking and Interrhythm
11.2.5 Falling Melody Lines
11.2.6 Root Progression and the Development of the I_IV_I 6/4 _V_I Ostinato
11.2.7 Perfonnance Practice
11.3 Summary
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AFRICAN ECLECTIC COMPOSITIONS
12.1 The Process ofComposing
12.1.1 Tonic Sol-fa: Implications ofa Musical Tool
12.2 Periodisation ofAfrican Eclectic Compositions
12.2.1 First Period
Ntsikana Gaba: An African Prophet and his Music
12.2.2 Second period
Early Choral Composers and the Imitation ofHymns
12.2.2.1 John Knox Bokwe: Amaculo ase Lovedale
12.2.2.2 Enoch Sontonga: "Nkosi Sikelel' iAfrika"
12.2.2.3 John L. Dube: Amagama Abantu
12.2.3 Third Period
Integration ofAfrican Elements: The Use ofRhythm
12.2.4 Fourth Period
Traditional Aesthetics and the Renaissance ofNtsikana's Hymns
12.2.5 Fifth Period
Large Scale Works with Orchestra: UShaka and the Birth ofan African Opera
12.2.5.1 An Epic in Music and Praise Poetry: UShaka
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