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Johnny Fourie: Once upon a time, an artistic life
Johnny Fourie is one of the greatest guitar players of our époque (McLaughlin quoted in Crossley, 2007:iii). This study looks at Fourie's later approach to the interpretation of three selected representative works from his recording Once Upon A Time. Although there is biographical detail available,...
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| Format: | Thesis |
| Language: | English |
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College of Music
2021
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| _version_ | 1867611353042124800 |
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| access_status_str | Open Access |
| author | Scholfield, James |
| author2 | Lilley, Andrew |
| author_browse | Lilley, Andrew Scholfield, James |
| author_facet | Lilley, Andrew Scholfield, James |
| author_sort | Scholfield, James |
| collection | Thesis |
| description | Johnny Fourie is one of the greatest guitar players of our époque (McLaughlin quoted in Crossley, 2007:iii). This study looks at Fourie's later approach to the interpretation of three selected representative works from his recording Once Upon A Time. Although there is biographical detail available, there is very little in-depth analytical discussion or comparative study of his style and interpretation of repertoire. The purpose of this study is not a historical or bibliographic documentation but an analytical exploration of selected works from Fourie's final recording. Transcriptions and analysis occupy the majority of the study. The research focuses on the musical content of a specific period in Fourie's musical life. Biographical material is intended to reinforce Fourie's musical influences within the context of the material being analysed. The interpretation of his work in this context is the author's own workflow in understanding the material. A large part of developing an ability to improvise convincingly in the jazz artform is to emulate the defining individuals who have shaped it. The aural tradition is often the main conduit of learning and study. This process is an accepted method of artistic development and was especially valid in the South African musical context during the period under examination. There are very few studies on Fourie's improvisational approach or interpretation of the jazz repertoire especially in relation to his later work. Jonathan Crossley's biographical and analytical work Johnny Fourie and his influence on the development of the jazz guitar in South Africa is a comprehensive and well-documented look at Fourie's life through interviews with the subject as well as through colleagues and family. The work is divided into two parts, the first consisting of biographical material and the second a look at some of Fourie's general approaches to harmony and improvisation. This consists of a comprehensive analysis of one of Fourie's early chord melody interpretations of the jazz standard ‘My Foolish Heart'. The author's work is an extension of the analytical part of Crossley's work, exploring Fourie's later musical output with an emphasis on his harmonic and melodic developments, looking through the author's own prism as an active jazz guitarist and composer. By the time Once Upon A Time was released, Fourie's approach to harmony had evolved considerably and the album is a testament to this maturation. Working in relative isolation in his later years, it was only through a small network of close family, friends and musicians that his work was made available to the outside world. The main focus of this research will be to document and analyse Fourie's later musical output for the purposes of identifying stylistic traits inherent in his approach to improvisation and harmonic content as well as pinpointing his possible influences and inspirations through the transcription of melodic and harmonic content. The transcription process is also a crucial method of gathering musical information that can help inform and influence a musician's own approach to improvisation. The study is divided into three parts. Part I consists of an introduction, a glossary of useful terms and a short biography of the artist. Part II comprises analysis and the deconstruction of transcribed materials. Observations and musical influences are noted. Part III consists of a collection of melodic lines and chord voicings drawn from the transcriptions to create a lexicon of the artist's musical vocabulary. The author acknowledges that the study is limited to the selected works. The primary intention is to generate a conceptual understanding of Fourie's approach and improvisational vocabulary. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/33956 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2021 |
| publishDateRange | 2021 |
| publishDateSort | 2021 |
| publisher | College of Music |
| publisherStr | College of Music |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/33956 Johnny Fourie: Once upon a time, an artistic life Scholfield, James Lilley, Andrew Music Johnny Fourie is one of the greatest guitar players of our époque (McLaughlin quoted in Crossley, 2007:iii). This study looks at Fourie's later approach to the interpretation of three selected representative works from his recording Once Upon A Time. Although there is biographical detail available, there is very little in-depth analytical discussion or comparative study of his style and interpretation of repertoire. The purpose of this study is not a historical or bibliographic documentation but an analytical exploration of selected works from Fourie's final recording. Transcriptions and analysis occupy the majority of the study. The research focuses on the musical content of a specific period in Fourie's musical life. Biographical material is intended to reinforce Fourie's musical influences within the context of the material being analysed. The interpretation of his work in this context is the author's own workflow in understanding the material. A large part of developing an ability to improvise convincingly in the jazz artform is to emulate the defining individuals who have shaped it. The aural tradition is often the main conduit of learning and study. This process is an accepted method of artistic development and was especially valid in the South African musical context during the period under examination. There are very few studies on Fourie's improvisational approach or interpretation of the jazz repertoire especially in relation to his later work. Jonathan Crossley's biographical and analytical work Johnny Fourie and his influence on the development of the jazz guitar in South Africa is a comprehensive and well-documented look at Fourie's life through interviews with the subject as well as through colleagues and family. The work is divided into two parts, the first consisting of biographical material and the second a look at some of Fourie's general approaches to harmony and improvisation. This consists of a comprehensive analysis of one of Fourie's early chord melody interpretations of the jazz standard ‘My Foolish Heart'. The author's work is an extension of the analytical part of Crossley's work, exploring Fourie's later musical output with an emphasis on his harmonic and melodic developments, looking through the author's own prism as an active jazz guitarist and composer. By the time Once Upon A Time was released, Fourie's approach to harmony had evolved considerably and the album is a testament to this maturation. Working in relative isolation in his later years, it was only through a small network of close family, friends and musicians that his work was made available to the outside world. The main focus of this research will be to document and analyse Fourie's later musical output for the purposes of identifying stylistic traits inherent in his approach to improvisation and harmonic content as well as pinpointing his possible influences and inspirations through the transcription of melodic and harmonic content. The transcription process is also a crucial method of gathering musical information that can help inform and influence a musician's own approach to improvisation. The study is divided into three parts. Part I consists of an introduction, a glossary of useful terms and a short biography of the artist. Part II comprises analysis and the deconstruction of transcribed materials. Observations and musical influences are noted. Part III consists of a collection of melodic lines and chord voicings drawn from the transcriptions to create a lexicon of the artist's musical vocabulary. The author acknowledges that the study is limited to the selected works. The primary intention is to generate a conceptual understanding of Fourie's approach and improvisational vocabulary. 2021-09-16T10:56:47Z 2021-09-16T10:56:47Z 2021 2021-09-16T09:37:57Z Master Thesis Masters MMus http://hdl.handle.net/11427/33956 eng application/pdf College of Music Faculty of Humanities |
| spellingShingle | Music Scholfield, James Johnny Fourie: Once upon a time, an artistic life |
| thesis_degree_str | Master's |
| title | Johnny Fourie: Once upon a time, an artistic life |
| title_full | Johnny Fourie: Once upon a time, an artistic life |
| title_fullStr | Johnny Fourie: Once upon a time, an artistic life |
| title_full_unstemmed | Johnny Fourie: Once upon a time, an artistic life |
| title_short | Johnny Fourie: Once upon a time, an artistic life |
| title_sort | johnny fourie once upon a time an artistic life |
| topic | Music |
| url | http://hdl.handle.net/11427/33956 |
| work_keys_str_mv | AT scholfieldjames johnnyfourieonceuponatimeanartisticlife |