{"id":6802,"date":"2024-09-24T17:39:52","date_gmt":"2024-09-24T15:39:52","guid":{"rendered":"http:\/\/www.ifas.org.za\/research\/?p=6802"},"modified":"2024-11-28T16:46:52","modified_gmt":"2024-11-28T14:46:52","slug":"conversation-about-chris-mcgregors-music-17-october-2024","status":"publish","type":"post","link":"https:\/\/www.ifas.org.za\/research\/uncategorized\/conversation-about-chris-mcgregors-music-17-october-2024\/","title":{"rendered":"Conversation about Chris McGregor\u2019s music – 17 October 2024"},"content":{"rendered":"\n

Thursday, 17 October 2024<\/strong> | 02:30pm – 04:30pm<\/h4>\n\n\n\n

IFAS-Research | French Institute,1st<\/sup> floor, 62 Juta Street, Braamfontein
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[English version below]<\/em><\/p>\n\n\n\n

Inscrivez-vous ici<\/a>, avant le lundi 14 octobre<\/strong>.<\/p>\n\n\n\n

Chris McGregor \u00e9tait un pianiste, arrangeur, compositeur et chef d’orchestre qui <\/strong>joua un r\u00f4le important dans le jazz moderne sud-africain de la fin des ann\u00e9es 1950 jusqu’en 1964, lorsqu’il s’exila volontairement avec un groupe nomm\u00e9 les Blue Notes (Mongezi Feza; Dudu Pukwana; Nikele Moyake; Johnny Dyani; Louis Moholo). En Europe, il participa au mouvement du free jazz<\/em> et introduisit des innovations majeures dans la composition et l’arrangement de grandes formations. <\/p>\n\n\n\n

Cette pr\u00e9sentation de Denis-Constant Martin souhaite montrer comment les conceptions musicales de Chris McGregor se sont d\u00e9velopp\u00e9es \u00e0 partir de plusieurs sources : les musiques rurales qu’il a entendues en grandissant dans le Transkei, les hymnes protestantes chant\u00e9es dans l’\u00e9glise dirig\u00e9e par son p\u00e8re, la musique \u00ab classique \u00bb occidentale qu’il a apprise jusqu’\u00e0 ce qu’il quitte le Conservatoire de musique de l’Universit\u00e9 du Cap, et le jazz. Sa capacit\u00e9 \u00e0 combiner ces influences pour cr\u00e9er un langage musical original peut \u00eatre suivie \u00e0 travers quatre \u00e9tapes de sa carri\u00e8re :<\/p>\n\n\n\n

    \n
  1. 1962-1965 : \u00c9valuation de l’h\u00e9ritage du jazz am\u00e9ricain \u00e0 travers le prisme du\u00a0mbaqanga<\/em>\u00a0;<\/li>\n\n\n\n
  2. 1965-1971 : Exil en Europe et appropriation du\u00a0free jazz<\/em> influenc\u00e9 par une amorce de mouvement Retour en Afrique dans la musique ;<\/li>\n\n\n\n
  3. 1971-1977 : Premi\u00e8re Brotherhood of Breath, premi\u00e8res synth\u00e8ses ;<\/li>\n\n\n\n
  4. 1977-1989 : Organisation, discipline et libert\u00e9.<\/li>\n<\/ol>\n\n\n\n

    Enfin, les particularit\u00e9s du jeu de piano de Chris McGregor, en tant que soliste ou accompagnateur, seront pr\u00e9sent\u00e9es, pour conclure par quelques remarques sur la singularit\u00e9 de sa musique, l’importance des musiciens avec qui il a jou\u00e9, et les opportunit\u00e9s paradoxalement offertes par l’exp\u00e9rience traumatique de l’exil.<\/p>\n\n\n\n

    Cette pr\u00e9sentation est bas\u00e9e sur un article publi\u00e9 dans le journal en ligne Herri<\/em>, disponible ici.<\/a>
    <\/p>\n\n\n\n

    Retrouvez le programme ici.<\/a><\/p>\n\n\n\n

    Inscrivez-vous d\u00e8s maintenant ici<\/a>, avant le lundi 14 octobre<\/strong>.<\/p>\n\n\n\n

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    \"\"<\/figure>\n<\/figure>\n\n\n\n

    RSVP here<\/a>, before Monday, 14 October<\/strong>. <\/p>\n\n\n\n

    Chris McGregor was a pianist, arranger, composer and band leader who played an important role in South African modern jazz from the late 1950s till 1964 when he went into self-exile with a combo named the Blue Notes (Mongezi Feza; Dudu Pukwana; Nikele Moyake; Johnny Dyani; Louis Moholo). In Europe he participated in the free jazz movement and introduced major innovations in composing and arranging for big bands. <\/p>\n\n\n\n

    This presentation by Prof Denis-Constant Martin attempts to show how Chris McGregor’s musical conceptions developed from several sources: rural musics he heard grewing up in the Transkei, protestant hymns featured in the church his father led, western \u201cclassical\u201d music he learned until he dropped out of the University of Cape Town College of Music, and jazz. His ability to combine these influences to create an original musical language can be seized by focusing on four stages in his career:<\/p>\n\n\n\n

      \n
    1. 1962-1965: Assessment of the legacy of US jazz through the prism of mbaqanga;<\/li>\n\n\n\n
    2. 1965-1971: Exile in Europe, appropriation of free jazz tinged by the start of a musical back-to-Africa trend; <\/li>\n\n\n\n
    3. 1971-1977: First Brotherhood of Breath, first syntheses;<\/li>\n\n\n\n
    4. 1977-1989: Organisation, discipline and freedom.<\/li>\n<\/ol>\n\n\n\n

      Finally, the particularities of Chris McGregor\u2019s piano playing, as a\nsoloist as well as a sideman, will be introduced to conclude with a few remarks\non the singularity of his music, the importance of the musicians he played with,\nand the paradoxical opportunities offered by living the traumatic experience of\nexile.<\/p>\n\n\n\n

      This presentation is based on a paper published in the on-line journal Herri<\/em>, accessible here<\/a>.<\/p>\n\n\n\n

      Read the programme here.<\/a><\/p>\n\n\n\n

      Register now here<\/a> before Monday, 14 October.<\/strong><\/p>\n\n\n

      <\/p>","protected":false},"excerpt":{"rendered":"

      Thursday, 17 October 2024 | 02:30pm – 04:30pm IFAS-Research | French Institute,1st floor, 62 Juta Street, Braamfontein [English version below] Inscrivez-vous ici, avant le lundi 14 octobre. Chris McGregor \u00e9tait un pianiste, arrangeur, compositeur et chef d’orchestre qui joua un r\u00f4le important dans le jazz moderne sud-africain de la fin des ann\u00e9es 1950 jusqu’en 1964, lorsqu’il […]<\/p>\n","protected":false},"author":12,"featured_media":6823,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,15,17,1],"tags":[],"class_list":["post-6802","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-conferences","category-events","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/6802","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/comments?post=6802"}],"version-history":[{"count":15,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/6802\/revisions"}],"predecessor-version":[{"id":7137,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/posts\/6802\/revisions\/7137"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media\/6823"}],"wp:attachment":[{"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/media?parent=6802"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/categories?post=6802"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.ifas.org.za\/research\/wp-json\/wp\/v2\/tags?post=6802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}