The interpretation of Hans Huyssen's Ugubu: a critical hermeneutic analysis through performative research

Abstract

The tradition of Western classical music has a strong standing with South African music audiences while the modern music, by both local and overseas composers is not very popular and therefore does not get a lot of stage time and other exposure. This is rather unfortunate as modern music has become a norm in concert halls around the world and it is this writer’s feeling that more should be done by South African musicians in order to rectify the situation. In attempt to turn this predicament around the detailed discussion of one of South African compositions is undertaken here. In this article the methodology is a combination of an application of critical hermeneutic analysis, which is the study of subjectively interpreting written texts through the performative hermeneutic circle, with practice-based research – the type of research that facilitates a discovery of meaning through practice, in this case, of a piece of music. The use of tacit knowledge, which is considered to be grounded in a performer’s own life and professional experiences, is an additional contribution to practice-based research as it creates the conditions for musicians to interpret modern music at a more personal level for delivery to the public and subsequent promotion of the music. A detailed account of the personal interpretation of Huyssen’s Ugubu (rising and falling…and rising) using this approach follows which is a direct result of this article. I also present as an outcome of practice-based research an artefact in the form of a sound recording of the piece that practically demonstrates the analysis of the Ugubu. This artefact is a primary contribution to knowledge attributed to performative research. The conclusion is that an intense reflective process is necessary to find a performer’s own perception of the inner picture of the modern composition through the use of practice, research and personal life experience.