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A South African Spectral Composer, Andile Khumalo

Thesis (MMus (Music))--Stellenbosch University, 2016.

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Main Author: Van Tiddens, Harm Roche
Other Authors: Roosenschoon, Hans
Format: Thesis
Language:en_ZA
Published: Stellenbosch : Stellenbosch University 2016
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access_status_str Open Access
author Van Tiddens, Harm Roche
author2 Roosenschoon, Hans
author_browse Roosenschoon, Hans
Van Tiddens, Harm Roche
author_facet Roosenschoon, Hans
Van Tiddens, Harm Roche
author_sort Van Tiddens, Harm Roche
collection Thesis
dc_rights_str_mv Stellenbosch University
description Thesis (MMus (Music))--Stellenbosch University, 2016.
format Thesis
id oai:scholar.sun.ac.za:10019.1/100157
institution Stellenbosch University (South Africa)
language en_ZA
last_indexed 2026-06-10T12:43:11.727Z
license_str Other — see source repository
provenance_str_mv Harvested via OAI-PMH from SUNScholar — Stellenbosch University Repository
publishDate 2016
publishDateRange 2016
publishDateSort 2016
publisher Stellenbosch : Stellenbosch University
publisherStr Stellenbosch : Stellenbosch University
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source_str SUNScholar — Stellenbosch University Repository
spelling oai:scholar.sun.ac.za:10019.1/100157 A South African Spectral Composer, Andile Khumalo Van Tiddens, Harm Roche Roosenschoon, Hans Stellenbosch University. Dept. of Music. Spectralism Composers -- South Africa Psychoacoustics Spectral Composition Orchestral synthesis Khumalo, A. W. Thesis (MMus (Music))--Stellenbosch University, 2016. str201703 ENGLISH ABSTRACT: In the 1970s and 1980s spectral music composition (spectralism) was developed by the French composers such as Gérard Grisey and Tristan Murail. The music was formulated with an understanding of acoustics and psychoacoustics. Spectral composition was born out of a tradition based on ‘composing sound itself’ by composers of the 20th century such as György Ligeti, Olivier Messiaen, Karlheinz Stockhausen, Giacinto Scelsi and Edgard Varése. What separated the spectral composers from their 20th century predecessors was the use of new technology, such as spectral analysis, as well as the use of the listener’s perception as a compositional parameter. As a composer, my interest in spectral music composition and its relationship to South Africa encouraged an investigation into the technique and ideas of spectralism as well as the possibility of South African composers using spectral techniques. Two South African composers claiming to use spectral techniques were located: Andile Khumalo and Miles Warrington. The thesis first gives background to the nature of acoustics and psychoacoustics relevant to spectralism. Thereafter the historical trend towards spectralism is outlined. In order to understand the intricate nature of spectral composition, the background to the theories and music of two prominent French spectral composers, Gérard Grisey and Tristan Murail, is presented. Khumalo’s music is then analysed, showing a strong connection to spectral technique and philosophy. Before concluding, a brief outlook on Warrington’s and my own music is discussed. AFRIKAANSE OPSOMMING: In die sewentiger - en tagtigerjare is spektrale musiekkomposisie (spektralisme) deur Franse komponiste soos onder andere Gérard Grisey en Tristan Murail ontwikkel. Die musiek wat tot stand gekom het, is deur kennis en begrip van akoestiek en psigoakoestiek ingegee. Spektrale komposisie het voortgespruit uit die werke van 20ste-eeuse komponiste soos György Ligeti, Olivier Messiaen, Karlheinz Stockhausen, Giacinto Scelsi en Edgard Varése, werke waarin hulle die klem laat val het op ‘om die klank self te komponeer’. Wat spektrale komponiste se werk egter van hulle voorgangers onderskei is die gebruik van tegnologie soos spektrale analise asook nuwe kennis aangaande die luisteraar se persepsie van klank as ‘n komposisionele parameter. As komponis het my belangstelling in spektrale musiek my enersyds aangemoedig om ondersoek in te stel na die idees en tegnieke van spektrale komposisie; andersyds het hierdie genre binne die konteks van Suid- Afrika en die moontlikheid van Suid-Afrikaanse komponiste wat spektrale tegnieke in hul werk verwesentlik my geïnteresseer. Sodoende is twee SA komponiste geīdentifiseer: Andile Khumalo en Miles Warrington. Die tesis bied eerstens agtergrond tot akoestiek en psigoakoestiek in sovêr dit op sprektrale komposisie betrekking het, gevolg deur ‘n historiese inleiding tot spektralisme. Om ‘n beter begrip van spektrale komposisie te vorm word die teoretiese agtergrond van bogenoemde twee Franse spektrale komponiste, Grisey en Murail, uitgestip. Khumalo se musiek word dan geanaliseer om ‘n sterk verband met spektrale tegniek en -filosofie vas te lê. Ten slotte word die musiek van Miles Warrington en myself oorsigtelik bespreek. Masters 2016-12-22T13:21:34Z 2016-12-22T13:21:34Z 2016-12 Thesis http://hdl.handle.net/10019.1/100157 en_ZA Stellenbosch University 244 pages : ill. +1 score + 7 sound clips. application/pdf application/pdf audio/mp3 audio/mp3 audio/mp3 audio/mp3 audio/mp3 audio/mp3 audio/mp3 Stellenbosch : Stellenbosch University
spellingShingle Spectralism
Composers -- South Africa
Psychoacoustics
Spectral Composition
Orchestral synthesis
Khumalo, A. W.
Van Tiddens, Harm Roche
A South African Spectral Composer, Andile Khumalo
title A South African Spectral Composer, Andile Khumalo
title_full A South African Spectral Composer, Andile Khumalo
title_fullStr A South African Spectral Composer, Andile Khumalo
title_full_unstemmed A South African Spectral Composer, Andile Khumalo
title_short A South African Spectral Composer, Andile Khumalo
title_sort south african spectral composer andile khumalo
topic Spectralism
Composers -- South Africa
Psychoacoustics
Spectral Composition
Orchestral synthesis
Khumalo, A. W.
url http://hdl.handle.net/10019.1/100157
work_keys_str_mv AT vantiddensharmroche asouthafricanspectralcomposerandilekhumalo
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