183 research outputs found
Ex-Centric Hermeneutics in Stephanus Muller's <i>Nagmusiek</i>
No full textIn this review article the author reads Nagmusiek – Stephanus Muller's monumental metafictional biography of South African composer Arnold van Wyk – as an extended allegory on the geopolitics of academic writing. She argues that the book articulates, through its unusual physical apparatus, narratological techniques and metafictional hermeneutic deconcealment, a valuable theory-in-praxis of the aporetics of peripheral writing. In so doing, Muller materializes Walter Mignolo's notion of ‘epistemic delinking’ in radically original and risky ways.</jats:p
Fungiacyathus (Fungiacyathus) stephanus
No full textFungiacyathus (F.) stephanus (Alcock, 1893) Bathyactis stephanus Alcock, 1893: 149, pl. 5, figs. 12, 12a. Fungiacyathus stephanus.– Cairns, 1989a: 7–9, pl. 1a–k, 2a,b (description, synonymy); 1995: 31–31, pl. 1, figs. a–c (NZ).– Cairns & Zibrowius, 1997: 68–69 (NT).– Cairns, 1998: 369 (WA); 1999a: 54–56 (synonymy, tabular comparison). New records. NEW SOUTH WALES: Kapala 75/5/5, 1, AM G16414; Kapala 78/27/5, 1, AM G16384; NZOI U219, 1, AM G16556; NZOI U222, 1, AM G16610. — WESTERN AUSTRALIA: Bhagwan 4, 1, WAM Z13056; Lady Basten 1031403, 1, WAM Z16002. Types. The holotype is presumed to be deposited at the Calcutta Museum, India (Cairns, 1989a), although it has not been examined by the author. Type Locality: 15°43'30"N 81°19'30"E (off Kistna Delta, Bay of Bengal), 1240 m.Published as part of Cairns, S. D., 2004, The Azooxanthellate Scleractinia (Coelenterata: Anthozoa) of Australia, pp. 259-329 in Records of the Australian Museum 56 on page 27
A reception history of opera in Cape Town : tracing the development of a distinctly South African operatic aesthetic (1985-2015)
No full textThesis (PhD)--Stellenbosch University, 2018.ENGLISH ABSTRACT: In this dissertation an historical narrative is constructed of the reception of opera performances in Cape Town between 1985 and 2015 as reported on in the Cape Times and Die Burger. The study is theoretically situated in reception theory, specifically as articulated in Musicology by Carl Dahlhaus in Foundations of Music History. Reception histories are built on the social responses to art, and in the case of this study, opinions and views on opera were gathered from journalistic articles published specifically in the Western Cape daily newspapers, the Cape Times and Die Burger.
In Chapter 1, the current literature on opera history in South Africa is reviewed, and the theoretical framework is discussed. Also in this chapter, is an overview of the South African media landscape, which serves as a contextual framework and perspective from which the primary sources (journalistic articles) were written. The research methodology is also explained in terms of the research design, data collection and the analysis of that data by using content analysis as methodology.
An historical context and framework for this reception history is given in Chapter 2. The researcher revisits the historiography of opera on the basis of three identified historical patterns (addressed in the three parts of this chapter): the political enablers of opera, the professionalization of opera, and the introduction and dominance of nineteenth-century operas in the repertoire performed in Cape Town over a period of about two hundred years.
In Chapter 3, the results of the study is presented as a reception history of opera in Cape Town. Four historical patterns were identified by the researcher, and this chapter is accordingly structured in four parts: the reigning aesthetics of Western European operas, the transformation of the opera industry, strategies towards contemporary relevance and Africanisation, as well as the performance of indigenous South African operas. The reception of opera in Cape Town shows that there had been a move over a period of thirty years towards the creation of a distinctly South African operatic expression and aesthetic, which aimed to preserve the musical and theatrical elements of Western European opera while fusing it with music, stories and settings that have indigenous South African roots.AFRIKAANSE OPSOMMING: In hierdie tesis word ʼn narratiewe geskiedenis geskep van die resepsie van opera-opvoerings in Kaapstad tussen 1985 en 2015, soos oor berig is in die Cape Times en Die Burger. Die studie is teoreties gesetel in resepsie-teorie, soos spesifiek in Musikologie geartikuleer deur Carl Dahlhaus in Foundations of Music History. Resepsiegeskiedenisse word saamgestel uit sosiale response op kuns, en in die geval van hierdie studie is opinies en perspektiewe op opera uit joernalistieke artikels versamel wat spesifiek in die Wes-Kaapse dagblaaie Cape Times en Die Burger gepubliseer is.
In Hoofstuk 1 word ʼn kritiese analise van die huidige literatuur oor operageskiedenis in Suid-Afrika gelewer, en die teoretiese raamwerk word in besonderhede bespreek. Ook in hierdie hoofstuk is daar ʼn oorsig van die Suid-Afrikaanse media-landskap, wat dien as ʼn kontekstuele raamwerk en perspektief waaruit hierdie primêre bronne (joernalistieke artikels) geskryf is. Die navorsingsmetodologie word ook verduidelik in terme van die navorsingsontwerp, dataversameling en die analise van daardie data deur die gebruik van inhoudsanalise as metodologie.
ʼn Historiese konteks en raamwerk vir die resepsiegeskiedenis word in Hoofstuk 2 gegee. Die navorser ontleed opnuut die historiografie van opera aan die hand van drie historiese patrone wat geïdentifiseer is (en in die drie dele van hierdie hoofstuk aangespreek word): die politieke bestelle wat opera bevorder het, die professionalisering van opera, en die oorheersing van negentiende-eeuse operas in die repertorium wat in Kaapstad oor ʼn tydperk van ongeveer twee honderd jaar opgevoer is.
In Hoofstuk 3 word die resultate van hierdie studie aangebied as ʼn resepsiegeskiedenis van opera in Kaapstad. Vier historiese patrone is deur die navorser geïdentifiseer, en hierdie hoofstuk is daarvolgens in vier dele gestruktureer: die heersende estetika van Westerse Europese opera, die transformasie van die operabedryf, strategieë om eietydse relevansie en Afrikanisering te bewerkstellig, asook die opvoering van inheemse Suid-Afrikaanse operas. Die resepsie van opera in Kaapstad wys dat daar oor ʼn tydperk van dertig jaar ʼn skuif was tot die skep van ʼn unieke Suid-Afrikaanse opera-uitdrukking en -estetika wat gepoog het om die musikale en teaterelemente van Westerse Europese opera te bewaar en te vermeng met musiek, stories en plasings wat inheemse Suid-Afrikaanse wortels het.Doctora
Openings
No full textInaugural lecture delivered on 10 May 2016, Stellenbosch: Stellenbosch University, South Africa.Stephanus Muller received his undergraduate musical training at the University of Pretoria, South Africa. In 1993 he changed the focus of his music studies from
piano performance to musicology, and he holds master’s degrees in musicology from the University of South Africa and Oxford University. In 2001 he was awarded a DPhil from Oxford University before returning to South Africa in the same year. Elected as the chairperson of the Musicological Society of Southern Africa in 2004, he was instrumental in merging this society with the Ethnomusicology Symposium in 2006. After his appointment as lecturer at Stellenbosch University in 2005, he created the Documentation Centre for Music
(DOMUS) as a research and music heritage conservation initiative. Since then, DOMUS has acquired some of the most important and valuable archives of individuals and institutions pertaining to South African music, making it a unique repository of recorded music, scores and archival documents on the African continent. Since his appointment at Stellenbosch University, Muller has supervised groundbreaking studies by a new generation of South African music scholars, many of whom have gone on to study at prestigious universities abroad or to occupy teaching positions at South African universities. He is currently the Director designate of the Andrew W. Mellon-funded Africa Open – Institute
for Music, Research and Innovation, an ambitious institutional initiative that responds to the challenges and opportunities of music studies in South Africa. Muller is the recipient of the Chancellor’s Award for Excellence in Research, and his book on the composer Arnold van Wyk, 'Nagmusiek', was awarded a number of prestigious literary prizes for both fiction and nonfiction.Publishers versio
Twelve notes, twelve endnotes
No full textMuller, S. 2011. Twelve notes, twelve endnotes. Art South Africa, 09(04):40-44."Exile" is always the narrative of one person or entity, an "I" or an "us". Therefore we speak not of "exiles" (the condition, that is), but of "exile". It is not that exile cannot be other than its volatile laws of signification dictate, but it can only be other in a violently interventionist way.Post-prin
Music’s "non-political neutrality" : when race dare not speak its name
No full textCITATION: Froneman, W. & Muller, S. 2020. Music’s "non-political neutrality" : when race dare not speak its name, in Jansen, J. & Walters, C. (eds). 2020. Fault lines : a primer on race, science and society. Stellenbosch: SUN PReSS, doi:10.18820/9781928480495/13.The original publication is available at https://africansunmedia.store.it.si/zaNo abstract available.Publisher's versio
Philoponus, Stephanus and the De Anima
No full textThe Greek commentary on Aristotle’s De Anima is assigned by Michael Hayduck to Philoponus, except that he assigns Book 3 to Stephanus. The true continuation of Books 1 and 2 is now known to be a Latin text which claims to be a translation from Philoponus. Peter Lautner, however, contends that both the full commentary and the stray Book 3 are by Philoponus. Pantelis Golitsis argues that Philoponus composed the stray Book 3 while the full commentary is by his tutor Ammonius. Here it will be argued that: (a) Lautner is probably right to deny the stray Book 3 to Stephanus; (b) the criteria employed by Golitsis suggest that Philoponus had a hand in both the Greek and the Latin Book 3; (c) Philoponus is therefore likely to be the author of both the full commentary, as editor of Ammonius, and the stray Book 3 in his own right
A composer in Africa essays on the life and work of Stefans Grove
No full textCITATION: Muller, S. & Walton, C. (ed). 2006. A composer in Africa essays on the life and work of Stefans Grové. Stellenbosch: AFRICAN SUNMeDIA.The original publication is available from AFRICAN SUNMeDIA - www.sun-e-shop.co.zaBOOK BLURB: Stefans Grové (*1922), regarded by many as Africa’s greatest living composer, possesses one of the most distinctive compositional voices of our time. He studied in Cape Town under Erik Chisholm before becoming the first South African to be awarded a Fulbright Scholarship.
He took his Master’s at Harvard under Walter Piston, attended Aaron Copland’s composition class at the Tanglewood Summer School, and subsequently taught for over a decade at the renowned Peabody Institute in Baltimore before returning to his African roots in the early 1970s.Publishers' versio
Gender and sexuality in South African music
No full textCITATION: Walton, C. & Muller, S. (ed). 2005. Gender and sexuality in South African music. Stellenbosch: SUN ePReSS.The original publication is available from AFRICAN SUNMeDIA - www.sun-e-shop.co.zaBOOK BLURB: For many years now, the manner in which gender and sexuality impinge upon musical creativity has been a focus of mainstream debate in Europe and the USA. This book, based on the papers of a conference organized by the University of Pretoria, is nevertheless the first of its kind to tackle these issues in a specifically South African context. How is it, for example, that a white, gay composer could during apartheid write cantatas glorifying the same nationalist society that deemed him to be perverse? What role did gender play in the career of the premier Afrikaner woman composer of her day, whose success was matched only by the ridicule she inspired amongst her peers? And to what extent can gendered and sexualized hierarchies be discemed in African popular and indigenous music? These and many other questions are addressed, ranging from the straight and narrow to the queer and wide. The result is a book that is invigorating, even at times uncomfortable: a frank, scholarly, full-frontal portrait of a hithero ignored, but vital area of South African music theory.Publishers' versio
Orientalizing Europe, Europeanizaing Africa : the fantastical lives and tale of Jan Gysbert Hugo (The Marquis) (Louis de) (Vere) Bosman di Ravelli, also known as Gian Bonzar
No full textMuller, S. 2010. Orientalizing Europe, Europeanizaing Africa : the fantastical lives and tale of Jan Gysbert Hugo (The Marquis) (Louis de) (Vere) Bosman di Ravelli, also known as Gian Bonzar, in Markovic, T. & Mikic, V. (eds.). (Auto)Biography as a musicological discourse, Musicological studies: Collection of paper Volume 3. University of Arts Belgrade, Belgrade, p.142-159.Before he was being invented by others, or started imagining himself in
autobiographical texts, he was creating new names for himself. Born Jan
Gysbert Hugo Bosman on 24 February 1882, the first of these names was the
Italianate Vere di Ravelli, a name made up for the concert stage. Combining the
name he had read in a book with a shortened form of the Spanish for "Gysbert"
or "Gilvere", he was using the stage name in 1902 during his second concert
tour of the cities of Berlin, Magdeburg, Paris, Strasbourg and Cologne. A letter to Johannes J. Smith of 15 November 1912,includes two Sapphic reconstructions by "Gian Bonzar" for translation into Afrikaans and possible publication. The letter, signed by Bosman with his invented stage name, "Vere di Ravelli".Post-prin
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