The role of the cadence as determining factor of phrasing of the organ toccatas, preludes and fantasias of Johann Sebastian Bach
- Authors: Du Plooy, Jacobus Stephanus
- Date: 1996
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2636 , http://hdl.handle.net/10962/d1002301
- Description: This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.
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- Date Issued: 1996
'n Interdissiplinêre benadering tot die klasmusiekonderwys in Suid-Afrika
- Authors: Hendrikse, Salóme
- Date: 1993
- Subjects: School music -- Instruction and study -- South Africa Music -- Instruction and study -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2640 , http://hdl.handle.net/10962/d1002305
- Description: In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
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- Date Issued: 1993
The rise of the French organ symphony with special reference to the works of Alexandre Guilmant and Charles-Marie Widor
- Authors: Johnson, Bruce Richard
- Date: 1990
- Subjects: Guilmant, Alexandre, 1837-1911 Widor, Charles-Marie, 1844-1937 Organ music -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2643 , http://hdl.handle.net/10962/d1002308
- Description: This thesis on the Rise of the French Organ Symphony refers especially to the relevant works of Alexandre Guilmant and Charles-Marie Widor. It commences with a survey of the historical background, dealing with the development of French organ music from the 16th to 19th Century and the development of organ building in France from the 17th to 19th Century. It then proceeds to descriptions of the organs of St Clotilde, La Trinité and St Sulpice Churches in Paris, which are followed by biographical profiles of Cesar Franck, Alexandre Guilmant and Charles-Marie Widor, respectively. The major part of the thesis is devoted to a detailed analysis of the organ sonatas of Guilmant and the organ symphonies of Widor, which are discussed from the point of their cyclic outline and aspects of form and of style. The final chapter summarises the major findings of the analytical research and evaluates by comparative method, the merits and achievements of the two composers. In addition, Appendices are attached, providing specifications of various French organs and pictorial material relevant to the thesis. A separate cassette tape features characteristic sounds of Cavailie-Coll organs.
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- Date Issued: 1990
The piano sonatas of Muzio Clementi: an investigation into compositional aspects with special emphasis on developments in form and style
- Authors: Radloff, T E K
- Date: 1987
- Subjects: Clementi, Muzio, 1752-1832 -- Sonatas, Piano
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2653 , http://hdl.handle.net/10962/d1002319
- Description: This thesis follows on a number of studies all of which deal with selected schools of composition important in the development of the piano sonata. Muzio Clementi was one of the leading contemporaries of such great masters as Haydn. Mozart, Beethoven and Schubert, all of whom contributed greatly to the repertoire of piano sonatas. During his lifetime his reputation equalled that of his contemporaries and many of his sonatas were greatly admired by the young Beethoven. Clementi was born in Rome but spent the largest part of his Ii in London where he established himself as a multi-faceted musician, being engaged in many different fields connected with music: composer, teacher, performer, publisher and manufacturer of pianos. His sonatas form the most important part of his total creative output. While the earli works still follow principles typical of the middle classical period, his later sonatas belong to a different era and foreshadow the coming of romanticism. This thesis is devoted to a detailed survey of the changes that affect the form of the various movements. It shows the gradual change from tile simple compositional methods of the early works to the inherent logical process that characterises the sonatas of the later years The first part of the thesis culminates in findings that prove Clementi IS individuality and show that his enquiring spirit makes him an innovator of the first rank. The second major part of the thesis deals with the stylistic changes that take place within the various periods of Clementiis creative life. It summarises the main ingredients of his early music, critically evaluates the importance of various pianistic devices that play a leading role in works of the middle periods and finally shows the successful blending of inherited and new techniques in the last sonatas. The concluding section details the major points of the preceding investigations and presents a picture of Clementi's personality as it emerges through the medium of his solo keyboard sonatas.
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- Date Issued: 1987
Monochord to moog : a study of the development of stringed keyboard instruments with special reference to popularity trends
- Authors: Shuttleworth, Betty
- Date: 1972
- Subjects: Keyboard instruments -- History
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2676 , http://hdl.handle.net/10962/d1007441
- Description: The object of the present work has been to trace the evolution of stringed keyboard instruments from the monochord to the present day piano forte. So many inventions have occurred that a chronology of these would be both tedious and of little added value to the existing literature. In the present work the emphasis has been on those innovations which achieved some measure of popularity and can be regarded as essential steps in arriving at the products and methods of modern piano manufacturers. In order to bring this work up to date, visits have been paid to John Broadwood & Sons and the British Piano Museum in London; to the Essex Institute and Pingree House in Salem, Massachusetts; the Smithsonian Institute (Division of Musical Instruments) in Washington; the various Yamaha Factories in Hamamatsu, Japan; and the Piano Manufacturing Company in Wellington, South Africa. Special attention has also been paid to the development and popularity trends of mechanical, pneumatic and electric pianos. In the last Chapter of this study, the information gained is applied to the identification and dating of stringed keyboard instruments found in South Africa or referred to in newspapers or Africana.
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- Date Issued: 1972
Wood-wind instruments at the cross-roads : a survey of recent changes
- Authors: Honey, Albert Edward
- Date: 1969
- Subjects: Woodwind instruments Woodwind instruments -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2685 , http://hdl.handle.net/10962/d1012331
- Description: Since the rise of the "Stile Rappresentative" early in the seventeenth century, the composer has made definite and increasing demands on specific performance and tonal combination of instrumentalists which has materially affected the developnent in technique and, consequently, the improvement in construction and design of every musical instrument. The monodic "Stile Rappresentative" required expressive instruments with an extensive range to match the singers and, consequently, many instruments of the Renaissance period were rendered obsolescent. For instance, the shawms, pommers and crumhorns disappeared from concerted music-making with the exception of military and outdoor use, mainly in German windbands. More flexible instruments were required, and thus cornetts, flutes (mainly recorders and fipple-flutes), oboes and bassoons came gradually into their places, which for the main part they have occupied in the orchestra ever since that time. The String sections, too, underwent radical changes. A gradual metamorphosis from the Consort of Viols to the Violin Family took place following the work of the craftsmen Gasparo da Salố (1540 - 1609) and Giovanni Paolo Maggini of Brescia, perfected by the famous Cremonese school founded by Andrea Amati and continued by Stradivarius.
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- Date Issued: 1969