Stephanus Muller | Stellenbosch University (original) (raw)
Chapters by Stephanus Muller
Revue Internationale D'Éducation Sèvres 75, 2017
This article discusses institutional musical initiatives in the context of the waves of unrest an... more This article discusses institutional musical initiatives in the context of the waves of unrest and protests that occurred at South African universities during 2015 and 2016. It does so by considering structural, archivally-focussed and events-based responses to this crisis moment in tertiary education, offering perspectives from Stellenbosch University in the Western Cape, South Africa, of how institutionally innovative approaches in tertiary music education could respond to students' calls for the decolonial transformation of South African universities.
Composing Apartheid: Music for and against apartheid, 2008
Van Volksmoeder tot Fokofpolisiekar: Kritiese opstelle oor Afrikaanse herinneringsplekke, 2008
Musiek is hoog of laag. Dit kan styg of daal (soos berge en dale) met 'n opgaande lopie of 'n afw... more Musiek is hoog of laag. Dit kan styg of daal (soos berge en dale) met 'n opgaande lopie of 'n afwaartse toonleer. Dit is hier, digby die huis (tonika), of dáár by verwantes (relatiewe of parallelle mineur/majeur, miskien dominante of subdominante toonsoorte). soms beweeg dit, soos in schönberg se beskouing van tonaliteit, na verafgeleë uithoeke van groter tonale geografieë, tot by die verste verwyderde omgewing voor dit (indien ooit) terugkeer na die bekende wêreld van die tonika. Musiek as 'n soort res extensa. 1 orkestrasie is lugtig en ruimtelik, soos by webern, of konstruktivisties gespierd soos by brahms. Musiek maak horisontale kontoere en boë deur die afstande tussen note (intervalle). hierdie afstande word in uitvoering bepaal deur die tydsruimte tussen die einde van een toon en die begin van die volgende te beheer (artikulasie). Musiek is argitektonies monumentaal in vorm soos 'n beethoven simfonie, of dit is in uitdrukking en vorm intiem soos die salon.
Van Volksmoeder tot Fokofpolisiekar: Kritiese opstelle oor Afrikaanse herinneringsplekke, 2008
Boeremusiek stephanus MulleR tradisionele boeremusiek is in die twintiger-en dertigerjare wyd deu... more Boeremusiek stephanus MulleR tradisionele boeremusiek is in die twintiger-en dertigerjare wyd deur suid-afrika gespeel. Menige aand het die klanke huise en openbare plekke gevul, het dit weerklink oor ons velde en het dit die harte van boeremense opgevrolik. 1
(Auto)Biography as a Musicological Discourse, 2010
Jan Gysbert Hugo Bosman (also known as Vere Bosman di Ravelli) was born in 1882 in Piketberg, Sou... more Jan Gysbert Hugo Bosman (also known as Vere Bosman di Ravelli) was born in 1882 in Piketberg, South Africa. Shortly before the outbreak of the Anglo-Boer War in
1899, he traveled to Leipzig where, despite having had little previous musical training, he managed to persuade the Liszt-pupil Alexander Winterberger to take him
on as pupil. Di Ravelli soon had a modest, but thriving, solo career, enjoying particular recognition for his
Chopin interpretation.
Although little is known about him, di Ravelli owes his place in South African music historiography to two things. First, recognition that he was the first South African-born concert pianist with a European career. Second, his brief return to South Africa in 1909 and the subsequent musical setting of three poems in the still developing language of Afrikaans (he also composed two piano works based on Zulu folk music).
In 1964 di Ravelli published an autobiographical fantasy called Saint Theodore and the Crocodile. The discovery of an undated facsimile of a different di Ravelli autobiography in the Africana section of the University of Pretoria’s Merensky Library has provided a second, less fictionalized historical perspective of his life.
This paper considers how the construction of di Ravelli’s life in his autobiographies and other biographical fragments depends on music to imagine a contested South African colonial identity. On the one hand, it is an identity dependant on its European past; on the other it is one radically marked by an emergent Afrikaner nationalism.
Challenges in Contemporary Musicology: Essays in Honor of Prof. Dr. Mirjana Veselinović-Hofman, 2018
The article describes the planning and outcomes for an oral history project and film about the Eo... more The article describes the planning and outcomes for an oral history project and film about the Eoan Group in Cape Town, South Africa. It considers how research design and ethical decisions regarding research are not formulae to be
applied to historical research in historically traumatized communities, but result from uncomfortable negotiations between the personal and the historical.
Papers by Stephanus Muller
Transformation in Higher Education
The scholarly journal is an increasingly homogenised global institution marked by pro forma writi... more The scholarly journal is an increasingly homogenised global institution marked by pro forma writing, standardised processes of review and production and uniform design aesthetics. Recognising that this model does not necessarily serve the interdisciplinary agenda of a small community of music scholars in South Africa, the journal South African Music Studies has resisted absorption into large corporate publishing houses. The importance of remaining independent became clear in 2015 and 2016 when the most important student revolts since 1976 forced the editors to reconsider the responsibility of the journal to publish content that responded in interesting and significant ways to the national #FeesMustFall crisis. This paper discusses some of the strategies followed by the editors to foreground – and indeed, to privilege – Africa-centred modes of writing and reasoning during this turbulent time. These decolonial strategies included reconceptualising the role of editor as a proactive fig...
Tempo, Apr 1, 2022
Abstract This article considers if and how the five string quartets of the South African composer... more Abstract This article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth century is an obvious reason why this has been the case. But there is also the possibility that white South African composers during and after apartheid have engaged in composition from different intellectual and aesthetic starting points, compared to their African counterparts, due to the specific kind of coloniality they inhabit. The five string quartets afford a perspective on how Michael Blake negotiated the continuities of compositional authority and universalised commitment to a traditional Western sound ideal in the string quartet, with the self-awareness that white composition in post-apartheid South Africa arguably requires.
By submitting this thesis electronically, I declare that the entirety of the work contained there... more By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification.
Please help us populate SUNScholar with the post print version of this article. It can be e-maile... more Please help us populate SUNScholar with the post print version of this article. It can be e-mailed to: scholar@sun.ac.zaLettere En WysbegeerteMusie
Muller, S. 2010. Orientalizing Europe, Europeanizaing Africa : the fantastical lives and tale of ... more Muller, 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.
Muziki: Journal of Music Research in Africa, 2005
... Abstract Information. Interview with Bongani Ndodana : interview. Journal Title: Muziki : Jou... more ... Abstract Information. Interview with Bongani Ndodana : interview. Journal Title: Muziki : Journal of Music Research in Africa; Volume: Volume 2; Issue: Issue 1; Publication Date: 2005; Pages: 48 - 52; Authors: Stephanus Muller; ISSN: 03796485; Abstract: Read this article. ...
South African Music Studies, 2019
Publication View. 6515018. Sounding margins :--musical representations of white South Africa /--S... more Publication View. 6515018. Sounding margins :--musical representations of white South Africa /--Stephanus Jacobus van Zyl Muller. (2000). Muller, Stephanus Jacobus Van Zyl.,; University Of Oxford.--Faculty Of Music.--Thesis. Abstract. ...
Hubert du Plessis is op 7 Junie 1922 op die plaas Groenrivier in die Malmesbury-distrik gebore. V... more Hubert du Plessis is op 7 Junie 1922 op die plaas Groenrivier in die Malmesbury-distrik gebore. Vyf jaar later verhuis sy ouers na die Vier-en-twintig-riviere kontrei, naby Halfmanshof, waar hy sy kleuter- en primere skoolopleiding ontvang, asook klavierlesse vanaf sy sewende jaar. Sy vroegste komposisie-pogings dagteken uit sy hoerskooljare te Porterville (1936-39).
Revue Internationale D'Éducation Sèvres 75, 2017
This article discusses institutional musical initiatives in the context of the waves of unrest an... more This article discusses institutional musical initiatives in the context of the waves of unrest and protests that occurred at South African universities during 2015 and 2016. It does so by considering structural, archivally-focussed and events-based responses to this crisis moment in tertiary education, offering perspectives from Stellenbosch University in the Western Cape, South Africa, of how institutionally innovative approaches in tertiary music education could respond to students' calls for the decolonial transformation of South African universities.
Composing Apartheid: Music for and against apartheid, 2008
Van Volksmoeder tot Fokofpolisiekar: Kritiese opstelle oor Afrikaanse herinneringsplekke, 2008
Musiek is hoog of laag. Dit kan styg of daal (soos berge en dale) met 'n opgaande lopie of 'n afw... more Musiek is hoog of laag. Dit kan styg of daal (soos berge en dale) met 'n opgaande lopie of 'n afwaartse toonleer. Dit is hier, digby die huis (tonika), of dáár by verwantes (relatiewe of parallelle mineur/majeur, miskien dominante of subdominante toonsoorte). soms beweeg dit, soos in schönberg se beskouing van tonaliteit, na verafgeleë uithoeke van groter tonale geografieë, tot by die verste verwyderde omgewing voor dit (indien ooit) terugkeer na die bekende wêreld van die tonika. Musiek as 'n soort res extensa. 1 orkestrasie is lugtig en ruimtelik, soos by webern, of konstruktivisties gespierd soos by brahms. Musiek maak horisontale kontoere en boë deur die afstande tussen note (intervalle). hierdie afstande word in uitvoering bepaal deur die tydsruimte tussen die einde van een toon en die begin van die volgende te beheer (artikulasie). Musiek is argitektonies monumentaal in vorm soos 'n beethoven simfonie, of dit is in uitdrukking en vorm intiem soos die salon.
Van Volksmoeder tot Fokofpolisiekar: Kritiese opstelle oor Afrikaanse herinneringsplekke, 2008
Boeremusiek stephanus MulleR tradisionele boeremusiek is in die twintiger-en dertigerjare wyd deu... more Boeremusiek stephanus MulleR tradisionele boeremusiek is in die twintiger-en dertigerjare wyd deur suid-afrika gespeel. Menige aand het die klanke huise en openbare plekke gevul, het dit weerklink oor ons velde en het dit die harte van boeremense opgevrolik. 1
(Auto)Biography as a Musicological Discourse, 2010
Jan Gysbert Hugo Bosman (also known as Vere Bosman di Ravelli) was born in 1882 in Piketberg, Sou... more Jan Gysbert Hugo Bosman (also known as Vere Bosman di Ravelli) was born in 1882 in Piketberg, South Africa. Shortly before the outbreak of the Anglo-Boer War in
1899, he traveled to Leipzig where, despite having had little previous musical training, he managed to persuade the Liszt-pupil Alexander Winterberger to take him
on as pupil. Di Ravelli soon had a modest, but thriving, solo career, enjoying particular recognition for his
Chopin interpretation.
Although little is known about him, di Ravelli owes his place in South African music historiography to two things. First, recognition that he was the first South African-born concert pianist with a European career. Second, his brief return to South Africa in 1909 and the subsequent musical setting of three poems in the still developing language of Afrikaans (he also composed two piano works based on Zulu folk music).
In 1964 di Ravelli published an autobiographical fantasy called Saint Theodore and the Crocodile. The discovery of an undated facsimile of a different di Ravelli autobiography in the Africana section of the University of Pretoria’s Merensky Library has provided a second, less fictionalized historical perspective of his life.
This paper considers how the construction of di Ravelli’s life in his autobiographies and other biographical fragments depends on music to imagine a contested South African colonial identity. On the one hand, it is an identity dependant on its European past; on the other it is one radically marked by an emergent Afrikaner nationalism.
Challenges in Contemporary Musicology: Essays in Honor of Prof. Dr. Mirjana Veselinović-Hofman, 2018
The article describes the planning and outcomes for an oral history project and film about the Eo... more The article describes the planning and outcomes for an oral history project and film about the Eoan Group in Cape Town, South Africa. It considers how research design and ethical decisions regarding research are not formulae to be
applied to historical research in historically traumatized communities, but result from uncomfortable negotiations between the personal and the historical.
Transformation in Higher Education
The scholarly journal is an increasingly homogenised global institution marked by pro forma writi... more The scholarly journal is an increasingly homogenised global institution marked by pro forma writing, standardised processes of review and production and uniform design aesthetics. Recognising that this model does not necessarily serve the interdisciplinary agenda of a small community of music scholars in South Africa, the journal South African Music Studies has resisted absorption into large corporate publishing houses. The importance of remaining independent became clear in 2015 and 2016 when the most important student revolts since 1976 forced the editors to reconsider the responsibility of the journal to publish content that responded in interesting and significant ways to the national #FeesMustFall crisis. This paper discusses some of the strategies followed by the editors to foreground – and indeed, to privilege – Africa-centred modes of writing and reasoning during this turbulent time. These decolonial strategies included reconceptualising the role of editor as a proactive fig...
Tempo, Apr 1, 2022
Abstract This article considers if and how the five string quartets of the South African composer... more Abstract This article considers if and how the five string quartets of the South African composer Michael Blake, written between 2001 and 2014, could be considered as contributing to the compositional and discursive construct that is ‘African art music’. ‘African art music’ has often been evoked in connection with the compositional practices of West African composers especially but has received little consideration and scrutiny of its possible applications to South African composition. The political and artistic isolation of South Africa from the rest of Africa during much of the twentieth century is an obvious reason why this has been the case. But there is also the possibility that white South African composers during and after apartheid have engaged in composition from different intellectual and aesthetic starting points, compared to their African counterparts, due to the specific kind of coloniality they inhabit. The five string quartets afford a perspective on how Michael Blake negotiated the continuities of compositional authority and universalised commitment to a traditional Western sound ideal in the string quartet, with the self-awareness that white composition in post-apartheid South Africa arguably requires.
By submitting this thesis electronically, I declare that the entirety of the work contained there... more By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification.
Please help us populate SUNScholar with the post print version of this article. It can be e-maile... more Please help us populate SUNScholar with the post print version of this article. It can be e-mailed to: scholar@sun.ac.zaLettere En WysbegeerteMusie
Muller, S. 2010. Orientalizing Europe, Europeanizaing Africa : the fantastical lives and tale of ... more Muller, 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.
Muziki: Journal of Music Research in Africa, 2005
... Abstract Information. Interview with Bongani Ndodana : interview. Journal Title: Muziki : Jou... more ... Abstract Information. Interview with Bongani Ndodana : interview. Journal Title: Muziki : Journal of Music Research in Africa; Volume: Volume 2; Issue: Issue 1; Publication Date: 2005; Pages: 48 - 52; Authors: Stephanus Muller; ISSN: 03796485; Abstract: Read this article. ...
South African Music Studies, 2019
Publication View. 6515018. Sounding margins :--musical representations of white South Africa /--S... more Publication View. 6515018. Sounding margins :--musical representations of white South Africa /--Stephanus Jacobus van Zyl Muller. (2000). Muller, Stephanus Jacobus Van Zyl.,; University Of Oxford.--Faculty Of Music.--Thesis. Abstract. ...
Hubert du Plessis is op 7 Junie 1922 op die plaas Groenrivier in die Malmesbury-distrik gebore. V... more Hubert du Plessis is op 7 Junie 1922 op die plaas Groenrivier in die Malmesbury-distrik gebore. Vyf jaar later verhuis sy ouers na die Vier-en-twintig-riviere kontrei, naby Halfmanshof, waar hy sy kleuter- en primere skoolopleiding ontvang, asook klavierlesse vanaf sy sewende jaar. Sy vroegste komposisie-pogings dagteken uit sy hoerskooljare te Porterville (1936-39).
... conference report. Journal Title: Ars Nova; Volume: Volume 35; Publication Date: 2003; Pages:... more ... conference report. Journal Title: Ars Nova; Volume: Volume 35; Publication Date: 2003; Pages: p.46 - 47; Authors: Stephanus Muller; ISSN: 03796485; Read this article. For subscription and additional information please contact us on: ...
CITATION: Walton, C. & Muller, S. 2005. Gender and Sexuality in South African Music. Stellenbosch... more CITATION: Walton, C. & Muller, S. 2005. Gender and Sexuality in South African Music. Stellenbosch: SUN ePReSS.
Op 19 Augustus 2004 het die Kaapse Filharmoniese Orkes onder leiding van die Amerikaanse dirigent... more Op 19 Augustus 2004 het die Kaapse Filharmoniese Orkes onder leiding van die Amerikaanse dirigent Leslie B. Dunner vir die eerste keer Hendrik Hofmeyr se Sinfonia Africana uitgevoer in die Kaapstadse stadsaal. Die simfonie is gekomponeer in opdrag van die Vriende van Afrikaans. Op daardie stadium was die skrywer 'n gereelde medewerker van Die Burger in Kaapstad se kunsblad as skrywer van 'n gereelde rubriek, opiniestukke, profiele en resensies. Die skrywer het self versoek om Hofmeyr se nuwe werk te resenseer en het die komponis vroeg reeds gevra vir 'n partituur van die werk om dit te bestudeer, en het voor die eerste uitvoering een repetisie daarvan in die stadsaal bygewoon.
Die korrespondensie wat hier bespreek word is deel van die Arnold van Wyk-versameling in die J.S.... more Die korrespondensie wat hier bespreek word is deel van die Arnold van Wyk-versameling in die J.S. Gericke Biblioteek van die Universiteit van Stellenbosch. Die briefwisseling bestaan uit die oorspronklike briewe van Hartman aan Van Wyk en kopiee van Van Wyk se briewe aan Hartman, en word in 2009 gepubliseer deur die Dokumentasiesentrum vir Musiek aan die Universiteit van Stellenbosch (www.domus.ac.za). Die oorspronklike briewe van Van Wyk aan Hartman word tans gehou in die Staatsargief in Pretoria. Sover die huidige skrywer kon vasstel, is hierdie briewe met Hartman se dood in 1982 geskenk aan die destydse Dokumentasiesentrum vir Musiek by die Raad vir Geesteswetenskaplike Navorsing in Pretoria as deel van 'n omvattende Hartmanversameling. Met die sluiting van hierdie Dokumentasiesentrum in 1992 is die meerderheid van die versamelings na die Staatsargief in Pretoria oorgeplaas.
Michael Blake was born in Cape Town on 31 October 1951. He studied at the South African College o... more Michael Blake was born in Cape Town on 31 October 1951. He studied at the South African College of Music in Cape Town, the University of the Witwatersrand (Wits) in Johannesburg (BMus) and University of London Goldsmiths College (MMus). In 2000 he was awarded a doctorate by Rhodes University. From 1977 to 1997, when he returned to South Africa, he was based in London as composer, pianist and teacher.
International Review of The Aesthetics and Sociology of Music, 2005
Ključne riječi Glazbena kritika je ambivalentni naziv za disciplinu: to nije analiza kako taj ter... more Ključne riječi Glazbena kritika je ambivalentni naziv za disciplinu: to nije analiza kako taj termin podrazumijevaju muzikolozi, niti dijeli tradicionalno zanimanje za metodu i sadraj historijske muzikologije. Ona predlae način diskursa koji je djelatan, koji se bavi hermeneutikom i ...