Original Research

Fusion of time and space in Hans Roosenschoon’s music: A pre-analytical strategy

Bertha M. Spies
The Journal for Transdisciplinary Research in Southern Africa | Vol 13, No 1 | a343 | DOI: https://doi.org/10.4102/td.v13i1.343 | © 2017 Bertha M. Spies | This work is licensed under CC Attribution 4.0
Submitted: 05 May 2016 | Published: 28 April 2017

About the author(s)

Bertha M. Spies, Musical Arts in South-Africa: Resources and Applications, North-West University, South Africa

Abstract

n order to promote access to non-tonal music, the fusion of musical time and space may be considered as a point of departure. As a pre-analytical strategy, it relies on direct experience of the music as it is heard instead of on specialised music theoretical knowledge. The music of Hans Roosenschoon is used to illustrate five ways in which the fusion of time and space manifests itself on a metaphorical level, namely the integration of Western and African cultural spaces through music as a temporal art form, the blending of time and space in the music itself and the fusion of art music from the past with everyday life by electronic means. A true story from the South African past that combines with a visual image associated with Cape Town represents another version of fusing time and space, while on a metaphysical level past and present coalesce as melodic references to Schubert’s music are used to signify abstract ideas. Listening to music directly rather than through the filter of a rational analytical system helps to develop an appreciation of non-tonal music, a kind of music that is often regarded as inaccessible.

Keywords

direct musical experience; music theory; fusion of time and space; Hans Roosenschoon

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