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    "Raak getref en tog onaangetas gelaat." Parodierende toonsetting in Roelof Temmingh se Met apologie
    (LitNet, 2022) Holder, Alene; Ludemann, Winfried
    In sy toonsetting van D.J. Opperman se “Met apologie” maak Roelof Temmingh van verskeie tegnieke gebruik om die reeks parodiërende gedigte musikaal te vertolk. Hierdie artikel ondersoek die verhouding tussen teks en musiek in Met apologie deur die siklus aan die hand van stilistiese kenmerke en musikale intertekstuele verwysings te bestudeer. Temmingh se vermoë om in uiteenlopende style te komponeer is ’n belangrike faktor in hierdie bespreking. Hy verwys byvoorbeeld na die musiek van Claude Debussy, Anton Webern, Paul Hindemith en Dmitri Sjostakowitsj, asook na kabaretstyl om die stemming en parodiërende (of selfs satiriese) kommentaar van Opperman se teks te verklank. Temmingh se toonsetting vertolk egter nie net die strekking van Opperman se teks nie, maar resoneer ook met wyer aspekte van die oeuvres van digters wat nageboots word. Die liedsiklus bied verskeie vertolkings van die sentrale karakter: die weduwee Viljee. Sy word soms as tragies, soms as komies, soms as eroties en soms as kranksinnig uitgebeeld.
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    'n Kritiese beskouing van Winfried Ludemann se teoretisering oor 'n musikale versoeningsdialoog
    (LitNet Akademies, 2020) Viviers, Etienne
    In sy gewigtige en komplekse teoretisering oor musiek, kulturele diversiteit, menswaardigheid en Suid-Afrikaanse demokrasie formuleer Winfried Lüdemann ’n metodologie – of selfs ’n bloudruk – wat die georganiseerde beskerming van postapartheid Suid-Afrika se musiekkulturele diversiteit voorstaan. Sy voorgestelde aksie van dialoogvoering word aangebied as ’n versoeningsmeganisme waarsonder die moontlikheid van ’n multikulturele demokrasie ongedaan gemaak kan word. Alhoewel die teoretiese raamwerk van Lüdemann se gedagtegang ingewikkelde invalshoeke aan onder andere paleomusikologie en ekumeniese teologie ontleen, is daar ’n ongekompliseerde samevalling tussen sy betoog vir die beskerming van musiekkulturele diversiteit en eietydse, spesifiek Afrikaanse veldtogte by universiteite vir die beskerming van taaldiversiteit in postapartheid Suid-Afrika. In hierdie artikel word uitvoerig ondersoek ingestel na die spesifieke gedagtes en redenerings wat Lüdemann in hierdie verband met musiek se beskerming voorhou. Tesame met die uitwysing van enkele drogredenasies in sy voorgestelde sillogistiese metode om musiekkulturele diversiteit te implementeer en in stand te hou, word in hierdie artikel verskil met sy mening dat multikulturele samelewings se vreedsame naasbestaan afhanklik is van musikale interaksie en ’n versoenende musikale dialoogvoering rondom die gemeenskaplike waarde van menslikheid of menswaardigheid. Melding word gemaak van hoe enige toepassing van Lüdemann se voorgestelde metodologie of bloudruk onopsetlik die anachronistiese kulturele landskap van apartheid sou ondersteun in ’n scenario waar monistiese musiekkulture mekaar op ’n denkbeeldige tussengrond moet probeer ontmoet en daarna met mekaar ’n versoeningsdialoog voer. Indringende vrae word gestel oor sy opvatting dat veral Westerse en Suid-Afrikaanse kunsmusiek beskerm moet word om te dien as bolwerk teen die eenvormige versmelting van musiekkulturele diversiteit en die daarmee gepaardgaande en oënskynlike ongedaanmaking van Suid-Afrika se postapartheid demokrasie. Lüdemann se oortuiging dat interkulturele dialoogvoering met musiek nie deur middel van vertaling kan gebeur nie, word ook aan kritiese bevraagtekening onderwerp.
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    Towards an understanding of creative processes in generating theatrical music for plays in Kenya
    (2017-12) Bullindah, Jacqueline Zinale; Muller, Stephanus; Akuno, Emily Achieng
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    "Ghoema vannie Kaap" : the life and work of Taliep Petersen (1950–2006)
    (Stellenbosch : Stellenbosch University, 2013-12) Fourie, Paula; Muller, Stephanus; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: This dissertation is a life-works biography of South African musician Taliep Petersen. It is not only concerned with a discussion of his various projects, but also with situating them within his lived experience and the broader sociopolitical environment of South Africa during the period from 1950 to 2006. Furthermore, by discussing his artistic output against the background of coloured identity discourse, this dissertation is concerned with exploring his various self-identifications through the years, whether it be Anglo-American popular music, the “traditional” folk music of the Cape Malay community, District Six, Islam, a heritage of slavery or the Afrikaans language. This is the first academic project on Taliep Petersen and there are no scholarly publications that deal substantially with his biography or with his work. As such, this dissertation makes considerable use of newspaper sources and archival material, though it is most reliant on oral testimony in the form of over thirty qualitative interviews, supplemented by personal communication and unstructured questionnaires specifically drawn up for individual informants. Regarded partly as an oral history project, this dissertation employs theoretical premises from this approach in regarding memories as living histories recalled in the present to make sense of the past. Individual interviews are treated as created texts, stories told to make sense of the life of Taliep Petersen. This dissertation draws from numerous disciplinary discourses within the arts and humanities. It focuses particularly on creolization, regarding this process as cultural creativity leading to the creation and constant fluidity of musical forms as well as individual and group identities. Part I of this dissertation consist of two lengthy chronologies that document the first thirty years of Taliep’s life, focusing variously on his childhood in District Six and his years as a young coloured musician in a world increasingly dominated by white concerns. Part II consists of four chapters that take a closer look at specific projects in the latter part of Taliep’s life, placing a greater emphasis on interpretation than on biographical chronicling. Chapter 3 deals with the activities of Taliep’s cover band, Sapphyre, in the early 1980s, with specific focus on their LP, Rosa. The Taliep Petersen/David Kramer collaboration in the mid-1980s forms the subject of Chapter 4, which focusses specifically on their first project, District Six: The musical. Chapter 5 straddles three projects of the 1990s, another musical (Poison), an album (Tribute) and a concert (Two worlds – One heart). The final chapter is concerned with a discussion of Taliep’s television work of the early years of the twenty-first century, as well as with the last musical he co-wrote with Kramer before his death, Ghoema. To explore the interaction of different mediums of representation within the linear account of a life lived, interludes consisting of fieldwork notes, maps, lists, perspectival sketches and family trees are interspersed between chapters.
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    Philip McLachlan en die Universiteitskoor Stellenbosch
    (Stellenbosch : Stellenbosch University, 1990) Jankowitz, Hendrika Johanna; Ottermann, R. E.; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music.
    This study was undertaken firstly, to introduce Philip McLachlan as a person and acknowledge his achievements as conductor of the Stellenbosch University Choir. Secondly his methods and techniques are made available to those who want to benefit from them. Thirdly, the development of the University Choir, from an amateur standard to the high standard that they have reached, was followed. The characteristic qualities of the Choir, which also played an important role in achieving a high standard of performance, are named and looked into. Fourthly the influence of Philip McLachlan and the Stellenbosch University Choir on choral singing in South Africa, is broadly outlined. Philip McLachlan's biography is dealt with. Priority is given to incidents which have proven to be important to his general musical development and specifically to his career as choirmaster. His characteristics, and especially those which have made him an above-average choirleader, are discussed. The talents which enabled him to attain success as a performing musician are mentioned. His development as conductor is described and special attention is given to his continuous striving to reach the best possible quality of choir tone. His norms and conduct as stage performer are looked into, his conducting techniques are determined and those methods which contributed to reaching a high quality of performance, are discussed. A cursory view of the history of the Stellenbosch University Choir is given. Research into the developments which led the Choir to the high standard that they reached, was undertaken. The characteristic qualities of the Choir, especially those essential to its success, are described. The reasons for the leading role of the Stellenbosch University Choir amongst South African choirs at that time and for the spreading of its influence, are given. The impact the choir had on overseas audiences is given as reason why it could compete with other good choirs in the world at that time. Philip McLachlan's continuous influence on choral work in South Africa is motivated and given as reason why he has been repeatedly called "the father of choir singing in South Africa".