The integration of synthetic scales and the African dies Irae motif in Alexander Johnson’s Kahlolo, Letšatši and vocalise Africa

Abstract

The South African composer Alexander Johnson frequently integrates diverse musical elements and post-tonal devices into his works. He employs distinct compositional techniques such as synthetic scales and the African Dies Irae motif (ADIM) to establish a recognisable signature. This is particularly evident in his organ pieces Kahlolo (2016) and Letšatši (2016), as well as in Vocalise Africa (2017) for soprano and piano. These three selected compositions clearly display Johnson's individual interpretations of 21st-century compositional devices. Given the limited literature on the composer and his works, this article provides valuable insights into the nuances of Johnson's compositional language, particularly his use of synthetic scales and the ADIM. By defining the original and varied versions of Johnson's scales and motifs, this research illustrates how he blends African melodic ideas with modern harmonic writing. The synthetic scales exhibit distinct pitch content, intervallic relationships and tetrachord structures, revealing their harmonic complexity and potential. The ADIM, a recognisable melodic motif based on the traditional Dies Irae, merges with these synthetic constructs, creating a sophisticated yet aurally recognisable balance.