Musikale ontlening en die voortbestaan van melodiese spore uit die verlede
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Date
Authors
Van Rensburg, Henriette
Spies, Bertha M.
Journal Title
Journal ISSN
Volume Title
Publisher
Vaal Triangle Faculty of Northwest University in South Africa
Abstract
Komponiste kan nie geïsoleer word van die musikale spore van die verlede nie – hierdie
spore kan doelbewus deur komponiste betrek word of deur die filter van die
onderbewussyn in ’n mindere of meerdere mate in latere werke bly voortbestaan. Dit is
moeilik om 'n greep op die verskynsel van musikale ontlening te kry omdat sogenaamde
ontlenings nie altyd met voldoende bewysvoering tot die oorsprong teruggevoer kan
word nie. In 'n poging om hierdie probleem sistematies te ondersoek, word hier van die
standpunt uitgegaan dat daar melodiese gestaltes is wat nie eksklusief aan 'n spesifieke
komponis gekoppel kan word nie maar wat deel uitmaak van 'n gemeenskaplike
musiekwoordeskat. Een manier waarop helderheid oor hierdie saak verkry kan word, is
om 'n historiese benadering te volg deur die spore van melodiese gestaltes in die verlede
terug te volg.
Hierdie artikel konsentreer op tematiese spore aangesien melodie daardie aspek van ’n
komposisie is wat direk tot die luisteraar spreek. Eerstens betrek ’n historiese perspektief
die moontlike bestaan van melodiese spore in die onderbewussyn, melodiese spore as
konvensionele figure en die probleem wat ontstaan wanneer ontleende materiaal aan ’n
spesifieke komponis gekoppel word. Tweedens word gedemonstreer hoe die melodiese
figuur wat begin met die stygende vyfdesprong teruggespoor kan word tot die eerste eeue
n.C. ’n Soortgelyke strategie wat die sprong van ’n stygende derde as openingsfiguur
betrek, kan hierdie melodiese figuur verder terugspoor, naamlik tot by ’n Griekse
Delfiese himne van die tweede eeu v.C.
Musical borrowing and the persistence of melodic traces from the past Composers are not isolated from musical traces of the past – they may use musical ideas deliberately or the traces may filter through their subconscious. The phenomenon of musical borrowing is complex, because so-called borrowings cannot always be traced back to their origins with sufficient evidence. In order to approach this problem in a systematic way, we argue that there are melodic patterns which cannot be linked exclusively to a specific composer, but which form part of a common musical vocabulary. One way in which this problem can be resolved is to follow a historical approach by tracing back melodic patterns into the past. This article focuses on thematic traces, because melody is that aspect of a composition which speaks directly to the listener. Firstly, a historically oriented account examines the possible existence of melodic traces in the subconscious, melodic traces as conventional figures and the problem of attributing borrowed material to a specific composer. Secondly, the article concludes by demonstrating how the melodic figure which starts with the upward leap of a fifth can be traced back as far as the first centuries AD. A similar strategy looking at the opening leap of a third could trace this melodic pattern back to an even earlier Greek Delphic hymn composed in the second century BC.
Musical borrowing and the persistence of melodic traces from the past Composers are not isolated from musical traces of the past – they may use musical ideas deliberately or the traces may filter through their subconscious. The phenomenon of musical borrowing is complex, because so-called borrowings cannot always be traced back to their origins with sufficient evidence. In order to approach this problem in a systematic way, we argue that there are melodic patterns which cannot be linked exclusively to a specific composer, but which form part of a common musical vocabulary. One way in which this problem can be resolved is to follow a historical approach by tracing back melodic patterns into the past. This article focuses on thematic traces, because melody is that aspect of a composition which speaks directly to the listener. Firstly, a historically oriented account examines the possible existence of melodic traces in the subconscious, melodic traces as conventional figures and the problem of attributing borrowed material to a specific composer. Secondly, the article concludes by demonstrating how the melodic figure which starts with the upward leap of a fifth can be traced back as far as the first centuries AD. A similar strategy looking at the opening leap of a third could trace this melodic pattern back to an even earlier Greek Delphic hymn composed in the second century BC.
Description
Keywords
Musikale ontlening, Melodiese spore, Konvensionele melodiese figure, Melodiese openingspatrone, Musical borrowing, Melodic traces, Conventional melodic figures, Melodic opening patterns
Sustainable Development Goals
Citation
Van Rensburg, H & Spies, B 2011, 'Musikale ontlening en die voortbestaan van melodiese spore uit die verlede', Journal for Transdisciplinary Research in Southern Africa, vol. 7, no. 1, pp. 1-24.