South African Music in Transition: A Flutist's Perspective

• Main Author: Deppe, Liesel Margrit
• Other Authors: MacKay, Gillian
• Language: en_ca
• Published: 2012
• Subjects: South Africa; South African; Art Music; Flute; Africa; 0413
• Online Access: http://hdl.handle.net/1807/32697

In April 1994 the citizens of South Africa found themselves in the unique position of contemplating a new national culture; one that would for the first time embrace all South Africans, regardless of race, colour or religion. Official segregation, which began in 1948, ended with the first democratic election held in1994. Cross-cultural awareness in South Africa emerged in the 1980s. Within this temporal context, this investigation will trace parallel developments in the South African classical music genre and will relate these developments to the concurrent socio-political environment. Looking specifically at music written for the flute, the selected works were composed for the flute as a solo instrument, or in combination with up to four other instruments by a cross-section of South African composers who either live in South Africa or who have South African roots. The works included in this study were composed roughly ten years before and after 1994; the purpose being to document the changes that were taking place in South African Art Music leading up to the first democratic election and during the exciting times that followed. The main component of this research is the analysis of the works of nine South African composers, examining cross-cultural content in the musical form: Michael Blake (Honey-Gathering Song, Leaf Carrying Song), Robert Fokkens (Inyoka Etshanini, Cycling to Langa), Hendrik Hofmeyr (Marimba), Hans Huyssen (The Cattle have gone Astray), Bongani Ndodana-Breen (Visions I and II), Isak Roux (Sketches, Four African Scenes), Martin Scherzinger (Whistle of the Circle Movement), Becky Steltzner (Hambani Kakuhle Kwela) and Kevin Volans (Walking Song). Biographical information and compositional philosophies are also included for each composer. In addition, publisher and recording details are provided where they exist. The works contained in this document are organized by cross-cultural borrowing technique: overt cross-cultural borrowing, borrowing guided by African music-making principles, African paraphrasing, and inspirational landscape painting. A brief history of Art Music in South Africa is provided, as is an overview of African musics and instruments. The analysis of each work considers African musical influences and their incorporation, while performance suggestions will also elucidate unique African aspects of the music.