The body of the dissertation (attached separately) comprises biographical sketches, background notes, analyses and technical notes on 17 selected solo and chamber works dating from 1947 to 2007 by some of South Africa’s most prominent composers and guitarist composers. Other sources consulted were publishers, broadcasting corporations, recording companies, libraries and the internet.
The primary sources of quantitative data collection were through the archival catalogues of the South African Music Rights Organisation and through personal contact with guitarists, composers and guitar teachers. A brief historical survey of the guitar in South Africa provides the context within which this study was conducted. The focus of this research has been, firstly, to uncover as much of the repertoire as possible, and, secondly, to collate, study, catalogue and report on the information. This is the first comprehensive investigation of music for, or including, the classical guitar by South African composers. The last three are all referred as lists, with their captions, and location throughout the text.
Conversa de botequim partitura series#
The thesis is supported by a series of quotations, tables, figures, and musical examples. Both establishes a series of aesthetic categories to explain an eclectic age where intertextuality is the critical tool to understand the musical contributions of the Mexican composers. Chapters Five and Six analyse the concepts of modernism and identity in relation to music. Chapter Four pays attention in the inner cultural relationships of a country moving away from a social revolution to a modernist cultural politics, and setting the bases for a new era. Chapter Three focuses on the main period of the research, characterised by the complexity of socio-cultural and inter/national relationships. Chapter Two discusses the musical ‘revolution’ in the 1920s that set up concrete new ideas, trends, concepts, and directions towards a modernist musical environment. Thus, Chapter One offers a discussion on how the ideology of Mexican romanticism became a legacy but also a persistent tradition well into the first decades of the twentieth century. The first four chapters conform a background, and the last two consider the main subject of study. The wealth of information has provided the rudiments to analyse and to compare findings in relation to music itself. Next to this, there is a corpus of scholarly studies by musicologists, theorists, analysts, historians, sociologists, semioticians, ethnographers, among others. The methodology to approach to the complexity of such a period the main sources are musical scores, composer’s writings, and journals of that time. This dissertation is about music in Mexico in the 1930s in relation with three main issues: the cultural context around music, the development of modernism, and the creation of an identity.
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