ETD Collection

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Infrasonority: exploration of sound energy below 20Hz in music
(2017) Schoeman, Franco
This thesis investigates an underdeveloped and little explored area of music and the arts: the use of infrasound (frequencies below 20Hz) as musical material in creative composition. Discussions, research and experiments conducted toward the prospect of exposing infrasonic characteristics were fundamental to the composition and recital that informed the thesis. The infrasonic material from which the composition was created contained synthesized wave forms, recordings of elephant vocalisation and thunderstorms. The infrasonic reproduction for the concert required explicit attention and enquiry regarding physical properties of the sonic phenomenon, equipment infrastructure and limitations in human perception.
Die probleem van klavierbladlees met besondere verwysing na oogbewegings en die neiging om op die hande te kyk
(2015-01-21) Fourie, Ella
Mikis Theodorakis and the articulation of modern Greek identity
(2008-08-15T07:16:54Z) Mouyis, Angelique
Drawing on contemporary identity theories, such as those of Martin Stokes and Simon Frith, my aim, in this research report, is to interrogate the construction of modern Greek identity in Theodorakis’ music. In Chapter One, I unpack the complex webs spun by history and culture to shape the modern nation, and the ways in which Theodorakis’ political and musical life have intersected with them in the twentieth century. In Chapter Two I discuss the establishment of the Popular Art Song as a powerful agent of modern Greek identity. Chapter Three examines major moves in Theodorakis’ advancing of popular art forms and hence his own renegotiation of modern Greek identity, while discussing theatre, `metasymphonic’ music and lyric tragedy. Chapter Four explores Theodorakis’ inner world, beliefs and perspectives, in particular his theory of Universal Harmony. Chapter Five discusses the phenomenon of Theodorakis’ Zorba as the allencompassing representation of modern Greek identity. It is concluded that Theodorakis shaped modern Greek identity through his music, mainly in the sixties; however, with the thrust of the technological revolution, a new Greek identity has emerged with which Theodorakis’ music cannot contend. He has nevertheless remained a Greek cultural symbol, and an international symbol of culture, peace and freedom. Ironically, his most commercial piece, ‘Zorba’s Dance’ from the film Zorba the Greek, has become an international marker of Greek identity.
Music as a vehicle in conflict transformation and social integration in South Africa
(2006-11-16T09:11:50Z) Ameck, Gillian Ayong;
Music has always played an important role in the lives of mankind; the quest for freedom by black people across the world is a typical example. During the days of slavery and later the civil rights struggle in the US, the struggle for independence by African states and the fight against Apartheid, music was used as an instrument of resistance. Through music, black South Africans emerged from conscious and subconscious subjugation to rescue their psyche from alienation. Today they express their cultural self-confidence in ways very different from the generations with firsthand experience of apartheid. Conflict has always been an important contributor to music of resistance. Over the past hundred years, however, violent attempts by men to dominate each another have intensified (The two Great Wars and the Cold War, genocides, ethnic and religious clashes). In this same vein, so too have efforts to thwart such attempts. Conflicts exist at all levels, within and between individuals, communities, nations and cultures. For a society still in the process of transformation, conflict in South Africa has also taken a new dimension with focus now on social conflict (for example Crime, drugs, poverty and the generation gap) in the field of daily life also including racial conflict, affirmative action, ethnic conflict, economic conflict and others with less and less focus on political conflict. The benefit of post- 1994 South Africa is the freedom of expression it offers. This is a freedom that, 20 years ago, was a luxury for blacks living in a country torn apart by apartheid; a freedom to have pride in themselves, a freedom to express their cultural selfconfidence. The first place this freedom became visible was on the music scene in the form of new infectious, irresistible form of dance and music. Musicians use their music as a medium to demonstrate most of these societal conflicts that exist in South Africa. Peace researchers, peace workers, and others have worked over several decades to promote an alternative culture and an alternative approach to dealing with conflicts – one based on recognising the positive, constructive, and creative opportunities available in any conflict situation. In this regard I would like to dwell on music as a creative way of dealing with conflict.

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