1887

oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - "Ek kan eintlik net hartseer musiek skryf ..."
Die selektiewe kanonisering van Arnold van Wyk (1916-1983) se werke : geesteswetenskappe

 

Abstract

Arnold van Wyk se elegiese beeld word veral in populêr-wetenskaplike artikels, herinneringe van vriende en gepubliseerde korrespondensie tussen Van Wyk en sy vriende geskets. Elegiese konnotasies word aan talle van Van Wyk se werke geheg, veral aan dié werke waarvan die titels beelde van eensaamheid of weemoed oproep. Hierdie elegiese beeld van Van Wyk het gaandeweg die karakter van 'n mite aangeneem. In hierdie artikel word daar gekonsentreer op die ontleding van gekose tekste oor Van Wyk aan die hand van Roland Barthes se model vir mite-ontleding en ook hoe sekere van Van Wyk se werke gekanoniseer is. In hierdie verband is daar gevind dat twee temas in die gekose geskrifte oor Van Wyk kristalliseer, naamlik die Romantiese-kunstenaar-mite en Afrikanernasionalistiese agendas en dat daar 'n simbiotiese verhouding tussen hierdie temas bestaan. Beide hierdie temas steun op Van Wyk se elegiese beeld. Op grond van die ooreenkomste tussen Van Wyk se beeld as komponis en die Romantiese beeld van Ludwig van Beethoven, kon hierdie skakel met 'n Europese Groot Komponis (en dus Europa) deur Afrikanernasionaliste voorgehou word om Van Wyk te promoveer as 'n Afrikaner-eie Groot Meester. Die tema van die Romantiese-kunstenaar-mite ondersteun sodoende die agenda van Afrikanernasionalisme, en die agenda van Afrikanernasionalisme moedig die karakterisering van Van Wyk volgens die Romantiese-kunstenaar-mite aan. Die hooffokus van hierdie artikel is egter op die selektiewe kanonisering van sommige van Van Wyk se werke en hoe veral die elegiese dimensie van sy beeld (saam met die invloed van die Romantiese-kunstenaar-mite) 'n invloed op hierdie selektiewe kanonisering gehad het. Daar word vasgestel dat veral werke met elegiese titels of skynbare elegiese inhoude deur die gekose skrywers uitgesonder word. Verder word die verskillende skrywers se kriteria vir "ware Van Wyk"-werke (werke wat die mite aangaande Van Wyk se elegiese beeld dien) belig. Van Wyk se eie bydrae tot die kanonisering van sy werke word ook ondersoek.


Arnold van Wyk's elegiac image is sketched in popular scientific articles, memoirs by his friends, and published correspondence between Van Wyk and his friends. Elegiac connotations are linked to numerous works by Van Wyk, especially those whose titles evoke images of loneliness and sadness. Van Wyk's elegiac image has taken on the character of a myth.
Van Wyk's elegiac image is reminiscent of the images - and stigmas - associated with 19th-century composers. As a prototype of the Romantic artist myth, Ludwig van Beethoven (1770-1827) stands out. It is the similarities between Van Wyk's elegiac image and Beethoven's Romantic image (the so-called Beethoven myth) that serves as a basis for my research. In order to investigate these similarities in greater detail, texts on Van Wyk by Jan Bouws (1957, 1968, 1971, 1982), Henk Temmingh (1965), Jacques Malan (1984), Frits Stegmann (1984), Howard Ferguson (1987), Izak Grové (1993, 1996, 1999) and Martin Smith (1991) were selected and examined.
The influence of the past three years' developments in international (and local) musicology has broadened the scope of research in order to study the socio-cultural dimension of music in more detail, and to give a greater right of existence to interdisciplinary approaches within the field. In this regard Muller (2000) and Viljoen (2004) focus specifically on the relevance of cultural musicology for South African musicology. Muller (2000, 2008) and Thom Wium (2008) focus on Van Wyk research from a "new" musicological perspective. As a result of the broadening of the musicological terrain, Van Wyk research entered a new phase in 2000. A greater variety of research hypotheses about previously unexamined facets of Van Wyk's life and compositions can now be explored. One of the facets of Van Wyk's life and work that can now be investigated is die establishment and facets of his so-called elegiac image.
This article concentrates on the analysis of selected texts on Van Wyk by means of Roland Barthes's (1972, first published in 1957) model for myth analysis. According to Barthes (1972) myth is a specific type of communication. Thus, myth is a semiotic system that consists of three factors, namely the signifier, signified and the sign, and according to Barthes it can be analysed by means of Ferdinand de Saussure's (1857-1913) model. Saussure placed the emphasis on the sign and the relationship between the sign, the signifier and the signified. The signifier is a sound or written symbol and the signified represents the concept that is articulated by the signifier (McNeill 1992:2). The sign is the combination/union of the signifier and the signified (McNeill 1992:2).

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/content/litnet/10/2/EJC141446
2013-08-01
2016-12-09
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