Browsing by Author "Roos, Hilde"

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    Burgerskap onder konstruksie : Aida en Rigoletto by die Suid-Afrikaanse Republiekfeesvieringe, 1971
    (LitNet, 2021) Pistorius, Juliana M.; Roos, Hilde
    Ter viering van die tienjarige bestaan van die Republiek van Suid-Afrika in Mei 1971, is twee operas van Giuseppe Verdi, Aida en Rigoletto, vir Kaapse gehore op die planke gebring. Die produksies was egter vir verskillende gehore bedoel – Aida, opgevoer in die splinternuwe Nico Malan Skouburg (vandag Kunstekaap) in Kaapstad vir die wit publiek, en Rigoletto, opgevoer in die Joseph Stone Ouditorium in Athlone vir die bruin publiek. Hierdie artikel ondersoek hoe die 1971-Republiekfees ingespan is om burgerskap onder die jong nasie te bevorder en hoe hierdie twee feesproduksies die ideologiese onderbou van apartheid bevestig het. Mona Ozouf se teoretisering van openbare feeste word as lens gebruik om aan te dui hoe die Republiekfeesvieringe daarop gemik was om ’n sosiale verbond tussen die staat en sy mense te sluit, en hoe die feesvieringe die mag van die Suid-Afrikaanse staat moes illustreer. Deelname aan die geleentheid het die individu as burger herdoop, waardeur hy sy regmatige plek kon inneem as legitieme lid van die nasie. Spesiale fokus word gegee aan die opening van die Nico Malan Skouburg wat die Republiekfeesvieringe afgeskop het en die protesaksies teen die rassebeleid wat die openingsgeleentheid voorafgegaan het. Protesbriewe van skrywers soos Uys Krige en Adam Small illustreer hoe die Eoan Groep kontrasterende openbare sentimente soos simpatie en verwerping ontlont het. Tesame met ’n bespreking van die verskille tussen die Nico Malan en die Joseph Stone, word die opvoeringe van elk van die operas in die onderskeie ruimtes onder die loep geneem om te illustreer hoe die produksies uiteenlopende aspekte van Suid-Afrikaanse kulturele aspirasies verteenwoordig het. KRUIK se Aida was ’n toonbeeld van Afrikaner-eksepsionalisme terwyl Eoan se Rigoletto aanspraak gemaak het op ’n nagestrewe kulturele uitnemendheid.
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    Hendrik Hofmeyr : lewe en werk, 1957-1999
    (Stellenbosch : University of Stellenbosch, 2000-04) Roos, Hilde; Ludemann, Winfried; University of Stellenbosch. Faculty of Arts & Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information.
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    Indigenisation and history : how opera in South Africa became South African opera
    (SUN MeDIA, 2012) Roos, Hilde
    In South Africa, the exposure of opera to local cultures and circumstances has in time resulted in a number of opera productions that have departed from Western aesthetic norms and prompted innovations to the genre. These innovations can be traced in newly created operas as well as in the production of a number of operas from the standard canon that have been ‘translated’ to local contexts and social realities. This article explores the historical trajectory of opera production in South Africa from 1801 to the present through the lens of indigenisation and shows that, in its most subtle form, this phenomenon can be traced in local opera productions long before the issue of the reflection of indigenous cultures in opera became relevant. In constructing this history, the author hopes to identify moments when one musical element became another, or changed sufficiently to become a similar, but different element. Clearly, in discovering the South African roots of opera and understanding the many projects that currently characterise the opera scene in this country, the issue is not only one for cultural or textual analysis, but also, very pertinently, a matter for historiography.
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    Opera production in the Western Cape : strategies in search of indigenization
    (Stellenbosch: Stellenbosch University, 2010-12) Roos, Hilde; Muller, Stephanus; Huigen, Siegfried; University of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: During the past few decades fascinating opera productions have been staged by South African opera companies, using strong local casts and strikingly indigenous interpretations of standard works from the canon. It appears that opera in South Africa has survived the tumultuous recent history of this country and is invigorated by the creative possibilities unleashed by its contexts. This dissertation explores whether and how opera production in the Western Cape has reacted to societal influences specific to South Africa. It launches an exploration of if and how the genre has ‘indigenized’ to become what it is today. The following themes present themselves during the course of this dissertation: the process through which opera has rooted itself in the country historically, the forms in and through which opera manifested itself in the Western Cape, how the art form has developed, to what extent local culture has influenced the art form and if, how and why opera production in the Western Cape has diverged from original Western operatic ideals. This dissertation is comprised of two sections representing, broadly, the past and the present. Chapters 1 and 2 are historical studies, whilst Chapters 3 and 4 discuss contemporary perspectives. Chapter 1 is an attempt to construct a history of opera in South Africa and serves as a background or frame for the ensuing chapters. This chapter will show that indigenization in its most subtle form can be traced in local opera productions long before the issue of the reflection of indigenous cultures in opera became relevant. Chapter 2 is a first attempt to account for the history of the Eoan Group, a so-called Coloured opera company who performed during South Africa’s Apartheid years. It investigates the far-reaching implications of the drive to ‘Europeanize’ indigenous culture, as exemplified in the opera productions of this group. Chapter 3 discusses a new opera composition, Hans Huyssen’s Masque (composed in 2005), focusing on the use of voice as it engages with the indigenization of the aesthetic model of voice production. Chapter 4 is an investigation into the functioning of Cape Town Opera. It investigates how a local opera company – an institution promoting opera as a Western form of art – negotiates its way through the tumultuous changes of post-Apartheid South Africa.