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Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass
This project aims to determine how one can incorporate indigenous music and performance practices into contemporary jazz using the double bass and bass guitar as tools for mediation. It specifically investigates the Southern African and the Middle-Eastern regions via the Indian Ocean connection. Thi...
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| Format: | Thesis |
| Language: | English |
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College of Music
2023
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| _version_ | 1867613170604965888 |
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| access_status_str | Open Access |
| author | de Souza, Stephen Calvin |
| author2 | Deja, Richard M |
| author_browse | Deja, Richard M de Souza, Stephen Calvin |
| author_facet | Deja, Richard M de Souza, Stephen Calvin |
| author_sort | de Souza, Stephen Calvin |
| collection | Thesis |
| description | This project aims to determine how one can incorporate indigenous music and performance practices into contemporary jazz using the double bass and bass guitar as tools for mediation. It specifically investigates the Southern African and the Middle-Eastern regions via the Indian Ocean connection. This project combines performance and ethnography (Wong 2008) and details the process I went through in the pursuit for musical inclusivity as a South African bassist. Several themes emerged from the research and performance process including: the Western and Eastern divide, historical instruments and traditions of the aforementioned regions, the spiritual side of music that leads to healing, formal and informal education and how we can apply this knowledge. In order to investigate indigenous art forms of these regions, the research utilizes musical analysis and transcription, biographical backgrounds, and interviews of artists. Academic and scholarly writings including books, journal articles and dissertations pertaining to the relevant genres and cultural traditions were also used. In some cases the research includes ethnographic methods such as formal and informal interviews, participant-observation, and one-on-one lessons from master musicians. As a result, five stylistically different compositions were produced and performed in a presentational performance that was videoed for further documentation. The compositions take inspiration from a multitude of genres, instruments and styles. The overall aim was to ethically get as close as possible to the sound and traditional aspects with the understanding that I am not a Middle-Eastern or East-African music scholar. Rather, I am a South African bass player in pursuit of a more culturally inclusive model that goes beyond the established Western paradigm. The results suggest that it is possible to adapt certain instrument sounds and styles to a contemporary instrument. This leads me to believe that this same process could be implemented on other instruments, possibly in other genres. Moreover, I am suggesting this be better incorporated within all music performance streams, and not confined to ethnomusicology or world music studies. I believe that there is room for improvement in education to implement a more localized and culturally inclusive learning experience which helps bring more relevancy to their traditions in a contemporary setting. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/37084 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:31:53.390Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2023 |
| publishDateRange | 2023 |
| publishDateSort | 2023 |
| 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:11427/37084 Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass de Souza, Stephen Calvin Deja, Richard M Music This project aims to determine how one can incorporate indigenous music and performance practices into contemporary jazz using the double bass and bass guitar as tools for mediation. It specifically investigates the Southern African and the Middle-Eastern regions via the Indian Ocean connection. This project combines performance and ethnography (Wong 2008) and details the process I went through in the pursuit for musical inclusivity as a South African bassist. Several themes emerged from the research and performance process including: the Western and Eastern divide, historical instruments and traditions of the aforementioned regions, the spiritual side of music that leads to healing, formal and informal education and how we can apply this knowledge. In order to investigate indigenous art forms of these regions, the research utilizes musical analysis and transcription, biographical backgrounds, and interviews of artists. Academic and scholarly writings including books, journal articles and dissertations pertaining to the relevant genres and cultural traditions were also used. In some cases the research includes ethnographic methods such as formal and informal interviews, participant-observation, and one-on-one lessons from master musicians. As a result, five stylistically different compositions were produced and performed in a presentational performance that was videoed for further documentation. The compositions take inspiration from a multitude of genres, instruments and styles. The overall aim was to ethically get as close as possible to the sound and traditional aspects with the understanding that I am not a Middle-Eastern or East-African music scholar. Rather, I am a South African bass player in pursuit of a more culturally inclusive model that goes beyond the established Western paradigm. The results suggest that it is possible to adapt certain instrument sounds and styles to a contemporary instrument. This leads me to believe that this same process could be implemented on other instruments, possibly in other genres. Moreover, I am suggesting this be better incorporated within all music performance streams, and not confined to ethnomusicology or world music studies. I believe that there is room for improvement in education to implement a more localized and culturally inclusive learning experience which helps bring more relevancy to their traditions in a contemporary setting. 2023-03-01T12:12:34Z 2023-03-01T12:12:34Z 2022 2023-02-20T12:32:37Z Master Thesis Masters MMus http://hdl.handle.net/11427/37084 eng application/pdf College of Music Faculty of Humanities |
| spellingShingle | Music de Souza, Stephen Calvin Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass |
| thesis_degree_str | Master's |
| title | Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass |
| title_full | Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass |
| title_fullStr | Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass |
| title_full_unstemmed | Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass |
| title_short | Re-centering Indigenous Knowledge Systems into Contemporary Jazz Bass |
| title_sort | re centering indigenous knowledge systems into contemporary jazz bass |
| topic | Music |
| url | http://hdl.handle.net/11427/37084 |
| work_keys_str_mv | AT desouzastephencalvin recenteringindigenousknowledgesystemsintocontemporaryjazzbass |