Sounding margins : musical representations of white South Africa
<p>White South African culture is not a monolith. Neither was Apartheid. Neither is the pan-Africanist hegemony proclaimed over the New South Africa in the name of the ‘African Renaissance’. It is these highly politicized premises that inform the five case studies undertaken in this thesis — c...
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| Format: | Thesis |
| Language: | English |
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2000
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| _version_ | 1797109204888059904 |
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| author | Muller, SJvZ |
| author2 | Parker, R |
| author_facet | Parker, R Muller, SJvZ |
| author_sort | Muller, SJvZ |
| collection | OXFORD |
| description | <p>White South African culture is not a monolith. Neither was Apartheid. Neither is the pan-Africanist hegemony proclaimed over the New South Africa in the name of the ‘African Renaissance’. It is these highly politicized premises that inform the five case studies undertaken in this thesis — case studies that aim to explore the role music can play as a cultural mediator, acting as a sign-system of difference in the postcolonial sphere in general and in the South African context in particular. Post-Apartheid South Africa presents a time and place where Western musical culture is an uncomfortable, disturbing practice of survival and supplementarity — between art and politics, past and present, the public and the private. Our musicological solutions to political problems, and our attempts to find them, are, I believe, important and exemplary. My reading of art music in South Africa as part of a large and ambitious social and political experiment — the outcome of which hangs in the balance —- makes music a crucial site of imagining more composite, unfinished identities. White South African protest, fears, hopes and strategies are explored in the music of John Joubert, Arnold van Wyk, Stefans Grové, and in the literary texts of N.P. van Wyk Louw, André P. Brink and Breyten Breytenbach. My approach is unashamedly interdisciplinary and intentionally eclectic. Musicology has the chance to show, in the South African context, how difference can be productively engaged with and accepted in a way that does not undermine its significance. By exploring the merits of the postcolonialposition, I also hope to show how South African musicology can contribute to modes of musicological discourse aligned to postmodern thought.</p> |
| first_indexed | 2024-03-07T07:38:38Z |
| format | Thesis |
| id | oxford-uuid:df2053de-25de-4fb2-b70b-7d79d19b2dcf |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T07:38:38Z |
| publishDate | 2000 |
| record_format | dspace |
| spelling | oxford-uuid:df2053de-25de-4fb2-b70b-7d79d19b2dcf2023-03-21T14:47:31ZSounding margins : musical representations of white South AfricaThesishttp://purl.org/coar/resource_type/c_db06uuid:df2053de-25de-4fb2-b70b-7d79d19b2dcfMusic -- Social aspects -- South AfricaMusic -- South AfricaWhite people -- South Africa -- Intellectual lifeEnglishHyrax Deposit2000Muller, SJvZParker, R<p>White South African culture is not a monolith. Neither was Apartheid. Neither is the pan-Africanist hegemony proclaimed over the New South Africa in the name of the ‘African Renaissance’. It is these highly politicized premises that inform the five case studies undertaken in this thesis — case studies that aim to explore the role music can play as a cultural mediator, acting as a sign-system of difference in the postcolonial sphere in general and in the South African context in particular. Post-Apartheid South Africa presents a time and place where Western musical culture is an uncomfortable, disturbing practice of survival and supplementarity — between art and politics, past and present, the public and the private. Our musicological solutions to political problems, and our attempts to find them, are, I believe, important and exemplary. My reading of art music in South Africa as part of a large and ambitious social and political experiment — the outcome of which hangs in the balance —- makes music a crucial site of imagining more composite, unfinished identities. White South African protest, fears, hopes and strategies are explored in the music of John Joubert, Arnold van Wyk, Stefans Grové, and in the literary texts of N.P. van Wyk Louw, André P. Brink and Breyten Breytenbach. My approach is unashamedly interdisciplinary and intentionally eclectic. Musicology has the chance to show, in the South African context, how difference can be productively engaged with and accepted in a way that does not undermine its significance. By exploring the merits of the postcolonialposition, I also hope to show how South African musicology can contribute to modes of musicological discourse aligned to postmodern thought.</p> |
| spellingShingle | Music -- Social aspects -- South Africa Music -- South Africa White people -- South Africa -- Intellectual life Muller, SJvZ Sounding margins : musical representations of white South Africa |
| title | Sounding margins : musical representations of white South Africa |
| title_full | Sounding margins : musical representations of white South Africa |
| title_fullStr | Sounding margins : musical representations of white South Africa |
| title_full_unstemmed | Sounding margins : musical representations of white South Africa |
| title_short | Sounding margins : musical representations of white South Africa |
| title_sort | sounding margins musical representations of white south africa |
| topic | Music -- Social aspects -- South Africa Music -- South Africa White people -- South Africa -- Intellectual life |
| work_keys_str_mv | AT mullersjvz soundingmarginsmusicalrepresentationsofwhitesouthafrica |