| dc.description.abstract | ABSTRACT
This study is an examination of the application of the concept of dialectics in the Dialectic Fantasy by
Jacobus Kloppers.
Jacobus Kloppers was born on 27 November 1937 in Krugersdorp, South Africa. Kloppers is a wellknown
composer, organist and musicologist. The Kloppers family emigrated to Canada in 1976, where
Kloppers established himself as organist and later joined King’s College University. Most of Kloppers’s
compositions are for solo organ, but he also composed concerti, organ duets, choral works (with and
without accompaniment) and a work for piano.
The Dialectic Fantasy was commissioned by Eddie Davey in 1991. Davey tasked Kloppers with
composing a concert piece for solo organ that would contain several contradictions. Kloppers gained
inspiration from the philosophical term, dialectics. The dialectical process entails the statement of
thesis against anti-thesis in order to form a synthesis – this synthesis, in turn, forms a new thesis, and
in this way, the dialectical process moves forward purposefully. In this essay I have shown how the
concept of dialectics influenced music theorists in the late nineteenth and early twentieth centuries
and composer in the later twentieth century.
In the Dialectic Fantasy Kloppers portrays several contradictions – in the form, mode, style, timbre
and affect. The contradiction in the form entails the use of sonata form against free fantasy and
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counterpoint against monadic recitative. In terms of mode, major and minor modes are set against
each other. The contradiction in timbre comprises the use of registration and harmonic tone colour.
The meanings of the texts of the chorales used as well as the mood contribute to contradiction of
affect. Every contradiction possesses its own distinctive character. Kloppers ends the Dialectic Fantasy
on an uncertain tone, which adds to his depiction of the resignation that the faithful can find despite
unsolved questions.
ABSTRAK
Hierdie studie is ’n ondersoek na die toepassing van die konsep van dialektiek in die Dialektiese Fantasie
van Jacobus Kloppers.
Jacobus Kloppers is gebore 27 November 1937 in Krugersdorp, Suid-Afrika. Hy is ’n welbekende
komponis, orrelis en musikoloog. Die Kloppers-gesin emigreer in 1976 na Kanada waar Kloppers
homself vestig as orrelis en later aansluit by die King’s College University. Die komposisies van Kloppers
is meestal vir solo orrel, maar hy komponeer ook concerti, orrelduette, koorwerke (met of sonder
begeleiding) en ’n klavierwerk.
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Die Dialektiese Fantasie is in 1991 aangevra deur Eddie Davey. Davey het Kloppers die opdrag gegee
om ’n konsertwerk vir solo-orrel te komponeer wat verskeie teenstellings bevat. Kloppers kry sy
inspirasie vanaf die filosofiese konsep, dialektiek. Die dialektiese proses behels die stelling van tese
teenoor antitese wat ’n sintese vorm – hierdie sintese vorm op sy beurt ’n nuwe tese, en só beweeg
die dialektiese proses doelgerig vooruit. In hierdie skripsie het ek aangetoon hoe die konsep van
dialektiek musiekteoretici in die laat-negentiende en vroeg-twintigste eeue, en komponiste in die
latere 20ste eeu beïnvloed het.
In die Dialektiese Fantasie beeld Kloppers verskeie teenstellings uit – in die vorm, modus, styl,
klankkleur en affek. Die teenstelling in die vorm behels die stelling van sonatevorm teenoor vrye fantasie
en kontrapunt teenoor monodiese resitatief. Ten opsigte van modus word mineur teenoor majeur
gestel en in die styl word atonaliteit teenoor tonaliteit geplaas, en ’n 20ste-eeuse idioom teenoor
konvensionele harmoniek geplaas. Die teenstelling in klankkleur behels die gebruik van registrasie en
die harmoniese klankkleur. Die betekenis van die tekste van die koraalmelodieë wat gebruik is, asook
gemoedsbeweging, dra by tot die teenstelling in affek. Elke teenstelling het ’n eiesoortige karakter.
Kloppers eindig die Dialektiese Fantasie op ’n onsekere toon, wat bydra tot sy uitbeelding van die
berusting wat die gelowige kan vind ten spyte van onopgeloste vrae. | en_US |
