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Background to the Study
This study was inspired by a conversation between Prof. Johnson and myself to take a detailed look at the compositional output of my previous mentor and South African composer, Peter Louis van Dijk. The first phase was to research and discuss a particular aspect of his work, and secondly, to compile a complete and thorough catalogue of his composition output. I met van Dijk in the course of my undergraduate studies at NMMU. At that time, I was a cellist with the Eastern Cape Philharmonic Orchestra whilst van Dijk was guest conductor and I was a participant in a performance of his work by the orchestra during the period 2003 to 2005. After completing my honours degree, I enrolled for a Masters degree in composition at Rhodes University in 2007 where van Dijk became my supervisor. He remains a major influence on my work.
This research examines the prevalence of the San people in his compositions; they are central to the subject matter of some of his work and form a detailed account to complement the catalogue. The San elements that have been considered for the purpose of this study include a closer examination of the composer’s impression of their culture. Beard and Gloag discuss the term ethnicity as applied to social groups that share a sense of identity (Beard & Gloag 2005:60). A sense of their [San] ethnicity has been studied to ascertain the extent to which van Dijk incorporates these ethnic elements and/or their identity into his compositions through musical gestures. An additional element considered was the ideology that van Dijk formed surrounding the San. Van Dijk’s response to this culture revealed his beliefs and views in which he interpreted their world (Beard & Gloag 2005:90). Value and aesthetics were obvious considerations as well. While aesthetics is concerned with perception, interpretation is of particular interest especially as seen through the eyes of the composer. When studying the composer van Dijk, value sets emerged which pointed to his personal preferences and again to his ideological position concerning the San (Beard & Gloag 2005:188).
Chapter 1 Introduction
1.1 Background to the study
1.2 Aims and value of the study
1.3 Research Questions
1.4 Literature Review
1.4.1 Research Design and Methodology
1.4.2 Phenomenology of the study
1.5 Delimitations of The Study
Chapter 2 Peter Louis Van Dijk
2.1 A short biography
2.2 van Dijk as composer
2.3 van Dijk as conductor
2.4 van Dijk as teacher
Chapter 3 Placing the San into the context of van Dijk’s compositions
3.1 Brief history of the San since the arrival of Dutch settlers
3.2 The influence of the San on van Dijk’s work
Chapter 4
4.1 Horizons
4.1.1 Background
4.1.2 General
4.1.3 Sections
4.1.4 San Characteristics and Conclusion
4.2 San Chronicle
4.2.1 Background
4.2.2 General
4.2.3 Prologue
4.2.4 Springbok
4.2.5 Celebration
4.2.6 Mantis and the Moon
4.2.7 Epilogue
4.2.8 San Characteristics and Conclusion
4.3 About Nothing
4.3.1 Background
4.3.2 General
4.3.3 Sections
4.3.4 Introduction
4.3.5 Section A
4.3.6 Section B
4.3.7 Section C
4.3.8 Coda
4.3.9 San Characteristics and Conclusion
Chapter 5 Summary and discussion of the gestures evidenced in the three works
Chapter 6 A catalogue of the works published/performed by Peter Louis van Dijk
Table of Abbreviations
