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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Hans Huyssen se (1993) : geesteswetenskappe

Volume 12, Issue 3
  • ISSN : 1995-5928

 

Abstract

Die Suid-Afrikaanse komponis Hans Huyssen se (1993) staan binne sy oeuvre uit as 'n besinnende werk wat op sosiaal-kritiese wyse na die portret as interpretatiewe stylfiguur verwys. Die werk is uniek in dié opsig dat dit geensins met die oogmerke van Huyssen se postapartheid komposisies in verband gebring kan word nie. In laasgenoemde werke, wat elk vanuit 'n sterk kontekstuele raamwerk gestalte verkry, vertroebel die komponis skeidslyne tussen die hede en die verlede met opset, maar ook tussen botsende kulturele omgewings en identiteite. Ofskoon soortgelyke toespelings in gemaak word, stel die diepergaande boodskap van dié werk 'n universeelgeldende morele probleem.


Die navorsingsvraag wat in hierdie artikel ondersoek word, wentel om die mate waartoe programmatiese en simboliese elemente van storievertelling in meewerk om die komponis se verbintenis tot kwessies van 'n eksistensiële aard te belig. Hierdie vraag hou verband met die mate waartoe sy musikale konseptualisering van die werk die boodskap daarvan oordra. Die vraagstelling betrek Lawrence Kramer (1990) se idee van musikale hermeneutiek, waarby die uitgangspunt is dat musiek oor diskursiewe betekenis beskik, en dat sodanige betekenis kritiese interpretasie nie alleen veronderstel nie, maar dit ook bemiddel.
Die vernaamste bevinding wat in hierdie verband na vore tree, is dat die stylfiguur van die portret in as hermeneutiese "venster" dien (vergelyk Kramer 1990), waarby interpretatiewe toegang tot die moreel-etiese seggingskrag van die komposisie verleen word. Dit blyk dat Huyssen se doelbewuste veelvlakkige fragmentering van die musiek die morele verbrokkeling voorstel wat sentraal tot die "verhaal" van die komposisie staan. Binne die konteks van ander tekstuele middele lewer die stylfiguur van die portret 'n kragtige blik op die menslike siel en die voortdurende stryd tussen goed en kwaad wat innig verbonde aan alle menslike "waarheid" is. Vanuit hierdie meer "universele" funksie kan moontlik as 'n voorbeeld van "openbare kuns" verstaan word.


South African composer Hans Huyssen's (1993) is exceptional within his oeuvre for its reflectiveness that refers to the portrait as interpretative trope, introduced here from a socio-critical point of departure. The work is unique in that it does not relate to the aims of Huyssen's post-apartheid compositions. In those works, each conceptualised from the point of departure of a powerful contextual framework, the composer deliberately obscures boundaries between present and past, but also between clashing cultural milieus and identities. Although similar allusions are made in , in this work the underlying message of a universally valid moral problem is emphasised.
The research question posed by the article focuses on the degree to which programmatic and symbolic elements of storytelling in aid in highlighting the composer's commitment to matters of an existential nature. This question is related to the ways in which the musical conceptualisation of the work foregrounds its message. In this regard, Lawrence Kramer's (1990) idea of musical hermeneutics is of relevance, not only regarding his conviction that music has discursive meaning, but also with reference to his idea that critical interpretation is not only presumed by such meaning, but also mediated by it.
From this point of departure the most important finding is that the trope of the portrait in functions as a hermeneutic "window" (Kramer 1990), so that an interpretative entry into the moral-ethical dimension of the work is enabled. Furthermore, it becomes evident that Huyssen's deliberate multi-level fragmentation of the work represents the idea of moral disintegration which is central to the "story" of the composition. Within the context of other forms of textual signification the trope of the portrait powerfully highlights human identity and its ongoing conflict between good and evil, which, in turn, is intricately related to any idea of human "truth".

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2015-12-01
2016-12-11

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