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

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Table of Contents 10 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 11 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 12 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 VII 273 273 275 276 281 288 288 289 291 291 292 292 294 296 297 298 301 306 307 311 313 316 320 323 332 337 337
VIII 12.2.5.2 Towards an African Opera: Hqya, Mntwan' Omkhulu! (Sing Princess!) 12.2.5.3 The First African Opera: Princess Magogo kaDinizulu 12.3 Summary 13 Preface WESTERN REPERTOIRE 349 13.1 Reconsidering Repertoire: Khabi Mngoma and his Deliberations concerning Intonation 350 13.1.1 Equal Temperament and Acoustical Pitch 352 13.1.2 Intonation: a Matter ofTraining? 355 13.2 The Significance of Oratorio: Mngoma's Ionian Choir and Handel's Messiah 357 13.2.1 Handel's Messiah: Chronicle ofAppreciation 360 13.2.2 Meaning Transformed: Songs and Symbols 366 13.3 The Latest Development: Opera 368 13.4 Summary 374 EPILOGUE A) The Need for Critical Development Expertise of the Conductors Competitions Revisited Workshops for Choirs and Conductors Tonic Sol-Fa Summary ofProblems Identified B) Some Perspectives on Future Development Competition versus Festival Opportunities for Further Training Music Education and Choral Practice at Schools Action Research BIBLIOGRAPHY 1. Manuscripts 2. Music scores . 3. Newspapers andJournals 4. Books and Articles 5. Theses 6. Interviews and Personal Communication with Informants 7. Interviews with Choristers (Questionnaire) 8. Members of the Action Research Group Pietermaritzburg 339 342 346 377 378 379 380 381 382 383 383 385 386 387 389
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: VI 8 Preface FROM SCHOOLS TO COMMUN
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
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
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2.1 Setting the Scene: Early Missio
Page 71 and 72:
Page 73 and 74:
Page 76 and 77:
2.2 Becoming Amakholwa 47 were abou
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2.2 Becoming Amakholwa 49 published
Page 81 and 82:
Page 83 and 84:
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2.3 Images ofthe Other 57 'Heathen'
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2.3 Images ofthe Other 59 aim to "e
Page 91 and 92:
Shaping a New World: The Mrican Mid
Page 94 and 95:
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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Page 108 and 109:
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3.3 Between Two Worlds: Exclusivene
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3.4 Summary 3.3.3 Isolation of the
Page 121:
Negotiating Tradition and the Moder
Page 125 and 126:
4.1 The Mrican Yearly Register: A D
Page 127 and 128:
4.1 The Mrican Yearly Register: A D
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4.1 The African Yearly Register: A
Page 132 and 133:
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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Page 145 and 146:
Page 148:
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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Page 168 and 169:
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5.5 Musical Innovations, Structural
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5.6 Summary 5.6 Summary I have trac
Page 180:
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
Page 193 and 194:
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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Page 273 and 274:
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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
Page 323 and 324:
300 Mrican Eclectic Compositions I
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302 Mrican Eclectic Compositions Wh
Page 328 and 329:
12.1 The Process of Composing 305 a
Page 330 and 331:
12.2 Periodisation of African Eclec
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12.2 Periodisation ofMrican Eclecti
Page 335 and 336:
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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Page 409 and 410:
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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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