Mareli Stolp completed Bachelor of Music (2002) and Master of Music (2006) degrees at the University of Pretoria. Between 2003 and 2006, she was a student at the Conservatorium van Amsterdam in the Netherlands, where she studied with pianist Håkon Austbø, completing a Bachelor of Music Degree at the Conservatory of Amsterdam in 2006. She completed an Artistic Research PhD at the University of Stellenbosch with Professor Stephanus Muller in 2012.
Her main research interests are artistic research and South Africa music history and historiography.
2018: New music for new South Africans: the New Music Indabas in South Africa, 2000-2002. Journal of the Royal Musical Association Volume 142 (1), pp. 211-232.
2016: Report to the Academy: On Power and Ethics. Acta Academica Volume 48 (1), 2016.
2016: Settling the Score: Music and the Performer-Creator Approach in Nicola Elliott’s ‘Run’!. South African Theatre Journal Volume 29, 2016.
2016: ‘Thinking Through’ Voyeur Piano: Strategies and Outcomes for an Artistic Research Project. De Arte Volume 51 (1), 2016.
2016: Van Opera tot ‘Politopera’: nuwe strominge in Suid-Afrikaanse Opera Komposisie en Resepsie. LITNET Akademies March 2016.Download
2015: Analyzing ‘from the inside out’: Frederic Rzewski’s ‘De Profundis’ from a Performer’s Perspective. SAMUS Volume 35, 2015.
2013: Yemoja in Momente: ‘n Uitvoerderperspektief. Tydskrif vir Geesteswetenskappe 53/2. 2013.
2012: Practice-based Research in Music: International Perspectives, South African Challenges. SAMUS 32, 2012.
2011: Review Article: Beethoven Sonatas for Piano and Cello; Peter Martens (cello) and Luis Magalhaes (piano). SAMUS Volume 30/31, 2011.
2017: Guest Editor: Clare Loveday, Composer at 50. Editorial and extended interview. SAMUS Volume 36/37.
2016: Response to the Academy. Acta Academica Volume 48 (2).
2016: Review: Shana L. Redmond: Anthem: Social Movements and the Sound of Solidarity in the African Diaspora. 1st Edition. 2014. 345 pp. ISBN number 978-0-8147-7041-2. Muziki Volume 13.
2013: Performing contemporary music in present-day South Africa: An interview with Jill Richards. New Music SA Bulletin issue 9/10, 2010-2011.
2012: LITNET Akademies: Jack Parow se “Tussen stasies”: uniek of stereotiep?Download
2012: LITNET Akademies: Lang Lang – Enkele opmerkings oor vertoonkuns, verhoogkuns en virtuositeit.Download
2007: Transcending Time: Messiaen’s Approach to Time in Music. MUSICUS 2007/2.
2007: MMUS Dissertation published by VDM Publishing, Germany as Transcending Time: Messiaen’s Approach to Time in Music, ISBN 978-3-639-09574-6
2018: The 2017 DHET Policy on the Evaluation of Creative Outputs and Innovations: questions, challenges, new directions. Paper to be presented at the South African Society for Research in Music Annual conference, Durban, 29 August – 1 September 2018.
2017: Making opera ‘from the South’: Neo Muyanga’s Heart of Redness. Paper presented at the South African Society for Research in Music Annual conference, Potchefstroom, 31 August – 2 September 2017.
2017: Navigating the Constellation: Artistic Research, Self-reflexivity and Dissemination of Knowledge. Paper presented at the Society for Artistic Research Annual Conference, Helsinki, Finland, 28-29 April 2017.
2017: Against the grain of invented tradition: South African Opera and Neo Muyanga’s Heart of Redness. Paper presented at the Orpheus Institute for Advanced Studies in Music Doctoral Conference, Ghent, Belgium, 22-23 February 2017.
2016: Analysis, Meaning and Make-believe: Entry Points to Four Portraits and the life of Christopher Langford James. Paper presented at the South African Society for Research in Music Annual conference, Bloemfontein, 25-27 August 2016.
2015: Yemoja in Moments: Analysis from a Performer Perspective. Lecture recital presented at the South African Society for Research in Music Annual conference, Cape Town, 16-18 July 2015.
2015: Analysing from the inside out: Frederic Rzewski’s ‘De Profundis’ from a performer’s perspective. Lecture recital presented at the Performa Conference on Performance Studies, Aveiro, Portugal, 11-13 June 2015.
2014: Making Voyeur Piano: on Composition and Site-Specific Performance. Lecture recital presented at the South African Society for Research in Music Annual conference, Johannesburg, South Africa, 12 – 14 September 2014.
2014: The City as Phantasmagoria. Paper presented at the Wits Institute for Social and Economic Research Conference ‘New Ethnographies of Johannesburg’, Johannesburg, South Africa, 12 – 13 August 2014.
2014: Ethical by Default? The Regulation of Research Ethics as a Mechanism of Power. Paper presented at the UNISA ‘Contesting Freedoms: A Colloquium on Music Studies in a Democratic South Africa’, Pretoria, South Africa, 27-28 March 2014.
2014: On Voyeurs and Walkers: A Performance Experiment. Paper presented at the Orpheus Institute for Artistic Research Conference ‘The Limits of Control’, Ghent, Belgium, 26 - 28 February 2014.
2013: Performing the Argument: Site-Specific Performance and Practice-based Research. Paper presented at Performa International Conference on Performance Studies. Porto Alegre, Brazil, 31 May – 2 June 2013.
2013: Performing the Argument: Site-Specific Performance and Practice-based Research. Paper presented at South African Society for Research in Music Annual Conference, East-London South Africa, 18 July – 20 July 2013.
2013: Music, Politics and the Academy. Paper presented at a round table discussion at South African Society for Research in Music Annual Conference, East-London South Africa, 18 July – 20 July 2013.
2013: Post-Everything Poster Boy: Spoek Mathambo’s “Control” as Urban Landscape. Paper presented at the Conference of the Hearing Landscape Critically: Music, Place and the Spaces of Sound Network, Stellenbosch, 9 September – 11 September 2013.
2012: The Magic of the Mix: “De Profundis” for A Speaking Pianist by Frederic Rzewski. Lecture Recital and Paper presented South African Society for Research in Music Annual Conference, Pretoria, 19 July – 21 July.
2012: Standards in Higher Education. Keynote Address: South African Association for Institutional Research Annual Forum, Bloemfontein, 3 October – 5 October 2012.
2011: An Issue of Content: Mimesis and Simulacrum in Contemporary South African Concert Practice. Paper presented South African Society for Research in Music Annual Conference, Grahamstown, 23 June – 25 June 2011.
2011: Performance and Research. Paper presented at a round table discussion, South African Society for Research in Music Annual Conference Grahamstown, 23 June – 25 June 2011.
Michael Blake was born in 1951 in Cape Town and left South Africa in 1977 to settle in London where he continued his studies and formed the alternative new music ensemble London New Music. Returning to South Africa in 1998, he established the ISCM South Africa, the New Music Indaba and Unyazi festivals and the Sterkfontein Composers Meeting. He has been visiting professor at universities and conservatoires in America, Europe and South Africa, and has given masterclasses as far afield as Bolivia and Japan.
Largely self-taught as a composer, his work is associated with conceptual art and the beginning of an experimental music movement in South Africa in the 1970s. His output extends from solo piano music and string quartets to orchestral music and opera. In 1976 he began a series of pieces based on African composition techniques, continuing in recent years to explore a postmodern aesthetic in a range of different styles. He was described in the Musical Times in 2011 as “perhaps the first South African composer to be unselfconsciously an African composer. His are the blueprints and stratagems of a new cosmopolitan South African sound”.
He has worked with the Fitzwilliam String Quartet, Ensemble Bash, Fidelio Trio, Stockholm Saxophone Quartet, Axelsson-Nilsson Duo, New Juilliard Ensemble, Stuttgart Chamber Orchestra, Mexico City Chamber Orchestra, and pianists such as John Tilbury, Michael Finnissy and Daan Vandewalle. In the past few years he has had commissions and performances at international festivals including Festival d’Automne à Paris, Ars Musica Belgium, World Music Days Slovenia, as well as in New York, Mexico City, Tokyo, Vienna, Milan, Cologne, Stockholm, Vilnius etc. His music has been recorded on a dozen CDs, and a Wergo CD of his complete cello music with Friedrich Gauwerky and Daan Vandewalle will be released in April 2018.
He has collaborated with fimmakers and artists, notably Willem Boshoff in the multimedia piece ‘Scoring Boschpoort’. His first artist book, ‘Five Pieces for Piccolo and Tuba’, is being released in a signed limited edition later this year.
He currently divides his time between his home, in France, and South Africa where he is Honorary Professor of Experimental Music at Africa Open Institute, University of Stellenbosch.
www.michaelblake.co.za https://soundcloud.com/ichaellake https://vimeo.com/album/3290650
All details on my website: www.michaelblaek.co.za Articles: http://www.michaelblake.co.za/articles-by-michael-blake Scores: http://www.michaelblake.co.za/works CDs: http://www.michaelblake.co.za/discography Recordings on the internet: https://soundcloud.com/ichaellake https://vimeo.com/album/3290650
Jürgen May, born in 1957, studied music in Bielefeld and musicology in Bonn. In 1989, he received his Ph.D. with a dissertation on early-seventeenth-century lute music. From 1984 to 1993 May worked on the edition of Beethoven’s letters at the Beethoven-Archiv Bonn. From 1999 to March 2018 he was Research Fellow at the Richard-Strauss-Institut Garmisch-Partenkirchen. He directed the Richard-Strauss-Quellenverzeichnis (Richard Strauss sources catalogue) and the edition of Strauss’s late writings, and is member of the advisory board of the Richard Strauss edition at the Bayerische Akademie der Wissenschaften. Since 2017, May is Associate Professor Extraordinary at AOI.
Jürgen May has conducted research into 19th and early 20th century composers, particularly Ludwig van Beethoven and Richard Strauss. One of his focusses is the interrelationship between creative output, biography, and social and political contexts. His publications include studies on the creative process, music and politics in National Socialist Germany, and biographical mythmaking. As an editor of texts rather than of music, his methodological approach is based on critical studies of sources in which he has considerable expertise. At AOI, May is currently preparing the research database “Genadendal Music Collections Catalogue” (GMCC), which will serve as a pilot project for MUSA, a comprehensive online platform for documentation of, and research into, music of southern Africa.
Clare Loveday is a Johannesburg-based composer. Striving to convey through music the complications of life in a post-colonial society, her works have been described by critics in turn as ‘obstinate and fierce, big-boned and raw’, ‘subtle’ and ‘elusive’. She is best known for her classical saxophone compositions and interdisciplinary collaborations and has worked with a number of award-winning artists including the Gerhard Marx and Nandipha Mntambo. She has received numerous awards, grants and commissions from organisations such as the Mellon Foundation, SAMRO Foundation and performers such as Duo Montagnard, Ensemble Reconsil Vienna and Guy Yehuda. She has had works performed throughout South Africa and in Australia, Europe, England and the US, including at the ISCM World New Music Days, Juilliard New York, the Royal College of Music in London and Festival d’Automne à Paris. Clare lectured music theory and composition for many years at Wits University and was awarded a Doctorate of Music in 2009.
For more info see, http://clareloveday.co.za/
Upcoming events: see https://soundingcities.squares
Chris Walton (*1963 in England) studied at the universities of Cambridge, Oxford and Zurich and held a postdoc Humboldt Fellowship at Munich University. He was head of Music Division at the Zentralbibliothek Zürich from 1990 to 2001. He also lectured at ETH Zurich and worked as an occasional freelance répétiteur and continuo player. He was appointed Professor and Head of Music Department at the University of Pretoria in 2001. Today he lectures in music history at the Musikhochschule Basel. He is an Honorary Member of the Allgemeine Musikgesellschaft Zürich and was awarded the Max Geilinger Prize in 2009 for his contribution to Swiss-British cultural ties.
Chris Walton is a music historian. He has published several books, many articles and reviews. His main research areas are Austro-German Romantic music from 1820 to 1950, Swiss music, and South African music. His books include biographies of the Swiss composers Othmar Schoeck (1886-1957) and Richard Flury (1896-1967), a study of Richard Wagner’s Zurich years, and a study of composers and their inspiration from Wagner to Alban Berg, Lies and Epiphanies, which has now been published in German translation.
Together with Stephanus Muller, Walton has edited two books on South African music: A Composer in Africa: Essays on the Life and Work of Stefans Grové and Gender and Sexuality in South African Music.
Walton has contributed articles to the New Grove, Musik in Geschichte und Gegenwart, the Cambridge Wagner Encylopedia and other reference works. He is currently running a research project on Richard Wagner and the Austro-German conducting tradition at the Bern University of the Arts.