Sensitive areas within this text have been blacked out. Please refer to the attachment.%%%%ENGLIS... more Sensitive areas within this text have been blacked out. Please refer to the attachment.%%%%ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing o...
Soon after the publication of the article Report to the academy: power and ethics in humanities r... more Soon after the publication of the article Report to the academy: power and ethics in humanities research in Acta Academica 48 (1), I was notified by the editors that Professor Lyn Horn, the Research Integrity Officer at Stellenbosch University and Chairperson of the Research Ethics Committee: Humanities had contacted the journal and expressed the desire to respond to the article. In the spirit of open academic engagement, the editorial board granted this request, and also encouraged me to respond in turn to Stellenbosch University’s submission. I am appreciative of this opportunity, and gratified that open channels of communication and critique are being upheld and encouraged by the Acta Academica editorial board.
The South African Society for Research in Music (SASRIM) has come a long way since the amalgamati... more The South African Society for Research in Music (SASRIM) has come a long way since the amalgamation in 2005 of the Musicological Society of Southern Africa and the Symposium on Ethnomusicology into a single society. The desire to ‘desegregate’ sub-disciplines and establish an inclusive and wide-reaching forum for the study of music in South Africa has been a central project of SASRIM since its establishment in 2006; the scope and content of the eighth and ninth annual congresses of the Society, held in Johannesburg and Cape Town respectively, indicate that this project is well under way.
Operakomposisie in Suid-Afrika het veral sedert 2010 opvallend toegeneem en dit is opmerklik dat ... more Operakomposisie in Suid-Afrika het veral sedert 2010 opvallend toegeneem en dit is opmerklik dat die temas van nuutskeppings in die operagenre toenemend resoneer met onderwerpe en inhoud wat vir Suid-Afrika ter sake is. Die meerderheid van Suid-Afrikaanse operas wat sedert 2010 gekomponeer is, kan gekoppel word aan 'n model wat deur Richard Taruskin (2003) voorgestel is: hierdie werke poog om ter sake te wees ten opsigte van politieke en sosiale aktualiteite in Suid-Afrika vandag - soms deur gebruik te maak van geskiedkundige temas, maar ook deur kommentaar te lewer op die huidige samelewing. Hierdie artikel het ten doel om bondige oorsigte van agt operas wat sedert 2010 gekomponeer is, aan te bied, tesame met 'n kritiese beskouing van sekere aspekte van die werke. Daar word ook besin oor die posisie van opera as kulturele artefak binne die Suid-Afrikaanse konteks. Opera is, per definisie, 'n kunsvorm wat vertelling en musiek kombineer; komponiste soos Bongani Ndodana-Br...
ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festi... more ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions...
Sensitive areas within this text have been blacked out. Please refer to the attachment.%%%%ENGLIS... more Sensitive areas within this text have been blacked out. Please refer to the attachment.%%%%ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing o...
Soon after the publication of the article Report to the academy: power and ethics in humanities r... more Soon after the publication of the article Report to the academy: power and ethics in humanities research in Acta Academica 48 (1), I was notified by the editors that Professor Lyn Horn, the Research Integrity Officer at Stellenbosch University and Chairperson of the Research Ethics Committee: Humanities had contacted the journal and expressed the desire to respond to the article. In the spirit of open academic engagement, the editorial board granted this request, and also encouraged me to respond in turn to Stellenbosch University’s submission. I am appreciative of this opportunity, and gratified that open channels of communication and critique are being upheld and encouraged by the Acta Academica editorial board.
The South African Society for Research in Music (SASRIM) has come a long way since the amalgamati... more The South African Society for Research in Music (SASRIM) has come a long way since the amalgamation in 2005 of the Musicological Society of Southern Africa and the Symposium on Ethnomusicology into a single society. The desire to ‘desegregate’ sub-disciplines and establish an inclusive and wide-reaching forum for the study of music in South Africa has been a central project of SASRIM since its establishment in 2006; the scope and content of the eighth and ninth annual congresses of the Society, held in Johannesburg and Cape Town respectively, indicate that this project is well under way.
Operakomposisie in Suid-Afrika het veral sedert 2010 opvallend toegeneem en dit is opmerklik dat ... more Operakomposisie in Suid-Afrika het veral sedert 2010 opvallend toegeneem en dit is opmerklik dat die temas van nuutskeppings in die operagenre toenemend resoneer met onderwerpe en inhoud wat vir Suid-Afrika ter sake is. Die meerderheid van Suid-Afrikaanse operas wat sedert 2010 gekomponeer is, kan gekoppel word aan 'n model wat deur Richard Taruskin (2003) voorgestel is: hierdie werke poog om ter sake te wees ten opsigte van politieke en sosiale aktualiteite in Suid-Afrika vandag - soms deur gebruik te maak van geskiedkundige temas, maar ook deur kommentaar te lewer op die huidige samelewing. Hierdie artikel het ten doel om bondige oorsigte van agt operas wat sedert 2010 gekomponeer is, aan te bied, tesame met 'n kritiese beskouing van sekere aspekte van die werke. Daar word ook besin oor die posisie van opera as kulturele artefak binne die Suid-Afrikaanse konteks. Opera is, per definisie, 'n kunsvorm wat vertelling en musiek kombineer; komponiste soos Bongani Ndodana-Br...
ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festi... more ABSTRACTThis article explores the content, scope and impact of an annual contemporary music festival in South Africa, the first of which was presented in 2000 by New Music South Africa (NMSA), the South African chapter of the International Society for Contemporary Music (ISCM). It explores the New Music Indabas of 2000–02 against the background of the political and cultural transformations that characterized South Africa, especially in the aftermath of the end of apartheid. Research into the archive of NMSA provided an entry point into understanding South African cultural, social and political life in the early years of the country's democracy. The ‘separate development’ rhetoric of the totalitarian apartheid regime, in power from 1948 to 1994, prevented cultural exchange and connection between musics and musicians in South Africa for decades; this article explores the ways in which the New Music Indabas attempted to right these historical imbalances, and to forge new directions...
Uploads
Papers by mareli stolp