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

Bertha M Spies

doi:10.4102/td.v13i1.343

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.

Highlights

Does beauty lead to wisdom, Phaedrus? Yes, but through the senses. (Britten 1973)With these words the celebrated writer Gustav von Aschenbach begins his Phaedrus monologue in Benjamin Britten’s Death in Venice, an opera based on Thomas Mann’s novella
The writer ‘is caught between Apollonian order and Dionysian licence’ (Spies 2002:8). The conflict in his mind is portrayed by the combination of sound and visual images when Britten’s music accompanies picturesque shots of von Aschenbach’s gondola trip to Venice in Tony Palmer’s film version of Britten’s opera (2012)
On a more concrete level this filmic version of von Aschenbach’s trip to Venice signifies in a dualistic way the contrast between the impressive architectural structures, sometimes faintly visible through the enveloping mist, and the sound of water splashing against the gondola, the play of light on dark water and the sound of church bells

Summary

Introduction

With these words the celebrated writer Gustav von Aschenbach begins his Phaedrus monologue in Benjamin Britten’s Death in Venice, an opera based on Thomas Mann’s novella. The writer ‘is caught between Apollonian order and Dionysian licence’ (Spies 2002:8). The conflict in his mind is portrayed by the combination of sound (musical and otherwise) and visual images when Britten’s music accompanies picturesque shots of von Aschenbach’s gondola trip to Venice in Tony Palmer’s film version of Britten’s opera (2012). On a more concrete level this filmic version of von Aschenbach’s trip to Venice signifies in a dualistic way (reflecting his mind vacillating between the rational and the intuitive) the contrast between the impressive architectural structures, sometimes faintly visible through the enveloping mist, and the sound of water splashing against the gondola, the play of light on dark water and the sound of church bells (this excerpt of the film is available at https://www. youtube.com/watch?v=gOqGcTRwzQw)

Objectives

Conclusion