Abstract:
This study examines selected compositions of legendary South African jazz musician and composer Bheki Mseleku and focusses specifically on his use of harmonic cycles. The principles and applications of these harmonic cycles are attributed to the influence of American jazz saxophonist and composer John Coltrane. Non-functional harmonic cycles associated with Coltrane explore the symmetry of the harmonic system and are constructed through intervals that divide the octave into equal parts in works such as Giant Steps, Countdown, and Like Sonny. South African jazz and the work of Mseleku have up to date mainly been researched through a musicological lens but are largely under-researched in terms of technical musical analysis. Within this study, an in-depth investigation of several aspects of Mseleku’s compositions Monwabisi, Cycle, Love Joe, The Age Of The Divine Mother, Violet Flame, Yanini, and Timelessness are conducted through the process of musical transcription and analysis. To compensate for the limited information available on Mseleku’s work within academic literature, a grounded theory approach was used and adapted to suit the functions of musical analysis. During the data collection and analysis processes, two personal interviews were conducted with well-established South African jazz musicians who are greatly familiar with Mseleku and his work. The objective was to incorporate a more holistic and multidimensional view of Mseleku’s work and legacy. Themes that emerged throughout the investigative process include the reverberations of Mseleku’s presence on the South African jazz scene, the importance of his work in an educational context, connections to Coltrane that extend past his harmonic influence, and the concurrent existence of a wide range of influences within Mseleku’s music.
