Department of Music

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Browsing Department of Music by browse.metadata.advisor "Cilliers, Paul"

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    Composing (in) contemporary South Africa theoretical and musical responses to complexity
    (Stellenbosch : Stellenbosch University, 2015-12) Huyssen, Hans Heinrich; Muller, Stephanus; Cilliers, Paul; Hofmeyr, Jannie; Stellenbosch University. Faculty of Arts and Social Sciences. Dept. of Music.
    ENGLISH ABSTRACT: This thesis explicates a perception of music as complex phenomenon and, accordingly, the comprehension, creation and performance of music as complex tasks. While its immediate field of investigation is the composition of music, it proposes an understanding of musical composition that exceeds the conventionally confined acts of conceiving and notating music, by effectively including the acts of performing and perceiving music as inherent to the process of creating music and, in fact, as crucial to complete this creative process. This inclusion does not suggest an attenuation of the specialized skill of musical composition but, to the contrary, advocates the necessity of a heightened awareness for the complexity of this task, which will following from an understanding of music as systemically interrelated and principally inseverable set of (inter)actions encompassing its conception, performance and reception. In support of this approach an extensive introduction to complexity thinking is presented. For reasons of the intrinsic complexity of this topic and taking into account that complexity thinking has not yet formally been related to music studies, this section exceeds the scope of a preliminary preamble. Instead it constitutes one of four equally weighted sections of the dissertation. It offers to the musically trained reader not familiar with the topic an overview of historical developments leading to the theory of general complexity (Chapter 1) and a subsequent characterization of general complexity traits (Chapter 2). From here a link to musical considerations is established by means of a thorough reassessment of four terms – difference, identity, contexts and novelty – all of which are central to discourses in complexity, as well as in music studies (Chapter 3). From this basis an initial set of musical consequences arising from a complexity perspective is proposed (Chapter 4). One of the hallmarks of complex phenomena is the permeability of their boundaries. Following this insight the second section is dedicated to reflections on specific environments and circumstances acting as musical contexts, as well as a reading of musical responses with regard to the emergence of external contexts as internal subtexts. The first chapter in this section focuses on HIP (historically informed performances) as a complex methodology of transforming intangible historical evidence into tangibly different musical interpretations (Chapter 5). The second and third chapters are assessments of the effects of local circumstances on compositional activity in South Africa; one is based on empirical data obtained from a survey (Chapter 6), the other is of a very personal nature and reflects my own recent experiences from working as musician in this country (Chapter 7). The final chapter in this section expounds the core tenets of my personal compositional approach, framed as musical response to a subjective reading of South African circumstances perceived as equally challenging and enabling musical contexts (Chapter 8). Complementing the purely ‘theoretical considerations’ of these eight chapters, sections 3 and 4 contain ‘practical responses’, thereby fulfilling a requirement of the format of an integrated practical Ph.D. The practical research outputs are contained in a portfolio of four compositions (submitted both as scores and CD recordings in a separate volume), which represent my recent work of deliberate musical engagement with specific contexts framed from a South African perspective (Section 4). Preceding the portfolio, Section 3 contains a discussion of each of the respective works, linking the compositions to the theoretical reflections of Part One, thereby integrating practical and theoretical work and demonstrating the reciprocal influence and interaction between both sets of interventions. The discussion of The Songs of Madosini revolves mainly around the question of musical differences that emanate from intercultural collaborations (Chapter 9). The reflections on the Proteus Variations hinge on the issue of diversity, perceived not quantitatively, but as quality principally elevating the notion of variation to replace that of single dominance (Chapter 10). EisTau affords the opportunity to reflect on a musical response to the global crisis of climate change, as well as an engagement with the complex of music’s communicative, narrative and even semantic propensities (Chapter 11). Finally, the question of relational identity (determined by biographical, geographical and musical relations and thereby implying reflections on place, presence, absence and the ‘other’), are central to the elaborations on the Concerto for an African Cellist (Chapter 12). Interspersed between the twelve chapters are fourteen ‘Parentheses’. These are relatively short sections (distinguished from the ordinary text by grey background shadings) providing additional and somewhat independent reflections on topics that pertain to the main text. The preface to the thesis offers a brief introduction to PBR (practice-based research), which informs the integrated structure of this work.