A manifesto for musical modernism in South Africa: Stefans Grové’s 1952 articles in Standpunte

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Abstract

This article presents an in-depth analysis of two significant articles published by South African composer Stefans Grové in 1952 in the journal Standpunte. These articles are argued to form a manifesto for musical modernism in South Africa, a concept that has not been extensively developed in South African musicological discourse. Grové explores the potential for creating a uniquely South African musical expression and critically reflects on the use of indigenous music in Western compositions. His perspectives highlight the complex relationship between racial segregation policies and the practice of musical primitivism, providing insights into how apartheid ideology influenced art music composition.

The article develops the critical notion that Grové’s departure from musical primitivism represents a modernist strategy that rejects the ideological underpinnings of European imperialist thought. Grové’s refusal to adopt European modernist primitivism is contrasted with earlier explorations of musical primitivism by Bosman di Ravelli and Priaulx Rainier and is linked to Giorgio Agamben’s concept impotential – the capacity to refrain from action. This decision by Grové is seen as a significant articulation of a South African modernist sensibility that consciously avoids the pitfalls of European primitivism, contributing to a global discourse on modernism.

The article contextualises Grové’s 1952 writings within his broader compositional development, noting his identification with a modernist tradition influenced by neo-Baroque stylings of Paul Hindemith. Despite the influence of Western musical traditions, Grové’s articles are framed as a unique contribution to modernism that reflects an Africa-centred aesthetic. The discussion challenges the notion that South African modernism is merely a late adoption of European trends, arguing, instead, that Grové’s work represents a distinctive and critical engagement with global modernist discourses.

Grové’s articles also address the challenges faced by South African composers in developing a national musical idiom. He critiques the limited opportunities for exposure to contemporary music in South Africa and the consequent difficulty in forming a well-considered opinion on modern music. His reflections on the creation of a “national music idiom” highlight the tension between tradition and innovation in a culturally “young” country like South Africa.

The article concludes by positioning Grové’s writings as a crucial, though underappreciated, contribution to the understanding of musical modernism in South Africa. It calls for a re-examination of his ideas within the broader context of global modernist movements, emphasising the need to consider the particularities of South African cultural and historical contexts in the development of a modernist musical identity.

Keywords: global modernism; Stefans Grové; impotential (Giorgio Agamben); modernist manifesto; musical modernism; national music idiom; primitivism; Western art music composition

 

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Lees die volledige artikel in Afrikaans

’n Manifes vir musikale modernisme in Suid-Afrika: Stefans Grové se 1952-Standpunte-artikels

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