The keyboard sonatas of Pietro Augusto : an investigation into their formal and stylistic apsects
- Radloff, Timothy Edward Kingswell
- Authors: Radloff, Timothy Edward Kingswell
- Date: 1976
- Subjects: Augusto, Pietro , Sonatas (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2689 , http://hdl.handle.net/10962/d1013047
- Description: This thesis supplements "The Piano Sonata of the Eighteenth Century in Germany" (Vol. 2 in the publication series "Contributions to the development of the Piano Sonata"). It does not aim at a comparative study between Pieto Augusto and his contemporaries but intends to establish the composer's individual characteristics in the light of the general development of the piano sonata during the eighteenth century.
- Full Text:
- Date Issued: 1976
- Authors: Radloff, Timothy Edward Kingswell
- Date: 1976
- Subjects: Augusto, Pietro , Sonatas (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2689 , http://hdl.handle.net/10962/d1013047
- Description: This thesis supplements "The Piano Sonata of the Eighteenth Century in Germany" (Vol. 2 in the publication series "Contributions to the development of the Piano Sonata"). It does not aim at a comparative study between Pieto Augusto and his contemporaries but intends to establish the composer's individual characteristics in the light of the general development of the piano sonata during the eighteenth century.
- Full Text:
- Date Issued: 1976
The classical guitar : a study in structural, technical and musical evolution
- Authors: Nock, Howard James
- Date: 1974
- Subjects: Guitar , Guitar -- Construction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2687 , http://hdl.handle.net/10962/d1012966
- Description: Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
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- Date Issued: 1974
- Authors: Nock, Howard James
- Date: 1974
- Subjects: Guitar , Guitar -- Construction
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2687 , http://hdl.handle.net/10962/d1012966
- Description: Although complete works have been written dealing with the structural development of the guitar, to the best of my knowledge no attempt has yet been made to incorporate in one work an account in which structure, playing technique and musical style are correlated. Therefore the aim of this work has been to provide a compendium on these three main aspects of the historical development of the guitar ... The object of Part I is to try and establish the mainstream of the development of the guitar from the earliest beginnings of string instruments to the present day. Since little information and evidence of early instruments (i.e. before 1500 A.D.) is available, it has been necessary to formulate theories on how these developments may have taken place. Intro., p. 1.
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- Date Issued: 1974
The musical life of Henry Hare Dugmore, 1820 settler
- Authors: Henderson, Jenifer M
- Date: 1974
- Subjects: Dugmore, H H (Henry H), 1810-1897
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2682 , http://hdl.handle.net/10962/d1012262
- Description: Henry Hare Dugmore, the eldest son of Isaac and Maria, was destined to play his part in the dramatic future of his adopted country; not only to help as an artisan and a farmer, but to build in the spiritual field as an influential missionary and in the academic field as a most capable lecturer; most important of all, in the Artistic field as a Poet and a Musician.
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- Date Issued: 1974
- Authors: Henderson, Jenifer M
- Date: 1974
- Subjects: Dugmore, H H (Henry H), 1810-1897
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2682 , http://hdl.handle.net/10962/d1012262
- Description: Henry Hare Dugmore, the eldest son of Isaac and Maria, was destined to play his part in the dramatic future of his adopted country; not only to help as an artisan and a farmer, but to build in the spiritual field as an influential missionary and in the academic field as a most capable lecturer; most important of all, in the Artistic field as a Poet and a Musician.
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- Date Issued: 1974
An investigation into the application of Austrian didactics and methods of elementary musical education in South African school
- Authors: Nowotny, Ingrid Heidelinde
- Date: 1970
- Subjects: School music -- Instruction and study -- South Africa , Music -- Study and teaching (Elementary) , Music theory -- Elementary works
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2688 , http://hdl.handle.net/10962/d1012970
- Description: Why teach music? To answer this question one has to be able to see the full value of musical education. One has to recognize its effect on the unfolding of character and personality on the one hand and, on the other, its value for the development and sharpening of the intellect. In ancient Greece, the cradle of Western culture, the significance of music for man, the people, and the state was frequently emphasized. The Greeks regarded music almost as a magic force, the inherent harmony of which was capable of transforming things and creating order by reconciling contrarieties. Similarly they believed that the power of music could restore the harmony in man's soul. Intro., p.1.
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- Date Issued: 1970
- Authors: Nowotny, Ingrid Heidelinde
- Date: 1970
- Subjects: School music -- Instruction and study -- South Africa , Music -- Study and teaching (Elementary) , Music theory -- Elementary works
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2688 , http://hdl.handle.net/10962/d1012970
- Description: Why teach music? To answer this question one has to be able to see the full value of musical education. One has to recognize its effect on the unfolding of character and personality on the one hand and, on the other, its value for the development and sharpening of the intellect. In ancient Greece, the cradle of Western culture, the significance of music for man, the people, and the state was frequently emphasized. The Greeks regarded music almost as a magic force, the inherent harmony of which was capable of transforming things and creating order by reconciling contrarieties. Similarly they believed that the power of music could restore the harmony in man's soul. Intro., p.1.
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- Date Issued: 1970
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.
- Full Text:
- Date Issued: 1969
- 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.
- Full Text:
- Date Issued: 1969
Contributions to the development of the piano sonata : the sonatas of W.F. Bach, C.P.E. Bach and G. Benda
- Authors: Heuschneider, Karin
- Date: 1968
- Subjects: Bach, Wilhelm Friedemann, 1710-1784 Bach, Carl Philipp Emanuel, 1714-1788 Benda, Georg, 1722-1795 Sonatas (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2683 , http://hdl.handle.net/10962/d1012263
- Description: This investigation deals with three leading representatives of the North German Pre-Clasaical School. The sonatas of W.F. Bach and G. Benda have as yet received little attention. E .Bach, on the other hand, was always regarded as the most influential composer in the early history of the German piano sonata. Nevertheless, the existing literature on C.P.E. Bach is concerned with certain aspects or his works only or is devoted to introductory discussions. The aims of this research is to trace the development of the piano sonata and in particular the evolution of the 'sonata form' within the German Pre-Classical School. The works of W.F. Bach present the earliest stage in this development, which reaches its culmination with C.P.E. Bach. The final consolidation of the sonata form is then achieved in the piano sonatas of G. Benda.
- Full Text:
- Date Issued: 1968
- Authors: Heuschneider, Karin
- Date: 1968
- Subjects: Bach, Wilhelm Friedemann, 1710-1784 Bach, Carl Philipp Emanuel, 1714-1788 Benda, Georg, 1722-1795 Sonatas (Piano)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2683 , http://hdl.handle.net/10962/d1012263
- Description: This investigation deals with three leading representatives of the North German Pre-Clasaical School. The sonatas of W.F. Bach and G. Benda have as yet received little attention. E .Bach, on the other hand, was always regarded as the most influential composer in the early history of the German piano sonata. Nevertheless, the existing literature on C.P.E. Bach is concerned with certain aspects or his works only or is devoted to introductory discussions. The aims of this research is to trace the development of the piano sonata and in particular the evolution of the 'sonata form' within the German Pre-Classical School. The works of W.F. Bach present the earliest stage in this development, which reaches its culmination with C.P.E. Bach. The final consolidation of the sonata form is then achieved in the piano sonatas of G. Benda.
- Full Text:
- Date Issued: 1968
The life and work of Benjamin Tyamzashe: a contemporary Xhosa composer
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Tyamzashe, Benjamin, 1890 -- Criticism and interpretation Xhosa (African people) -- Music Hymns, Xhosa Composers, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2639 , http://hdl.handle.net/10962/d1002304
- Description: In this study I have tried to show what Tyamzashe has achieved without the solid musical training any composer worthy of the name should undergo. I have also tried to show the forming of his own musical style under the impact of outside influences. This study is therefore not to teach one anything new, but simply to communicate the results of three years research. In it I have attempted to set the scene in which Tyamzashe's life unfolded itself under the influences of people and circumstances. In doing so I have tried to bear in mind the main theme - Tyamzashe himself. My problem was not so much what to include but what to leave out; thus I have not provided the scene with a detailed background. The section on missionary contact is necessary for an understanding of the great changes brought about by culture contact, as well as for putting Tyamzashe into his historical background. I have also stressed Lovedale because musical change as exemplified in the music of early Bantu converts was centralized there. Finally, the thesis of this study is: despite the changes introduced into Bantu music by culture contact, one perceives, in the works of Tyamzashe, the beginnings of a new pattern of integration. p. 2-3.
- Full Text:
- Date Issued: 1968
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Tyamzashe, Benjamin, 1890 -- Criticism and interpretation Xhosa (African people) -- Music Hymns, Xhosa Composers, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2639 , http://hdl.handle.net/10962/d1002304
- Description: In this study I have tried to show what Tyamzashe has achieved without the solid musical training any composer worthy of the name should undergo. I have also tried to show the forming of his own musical style under the impact of outside influences. This study is therefore not to teach one anything new, but simply to communicate the results of three years research. In it I have attempted to set the scene in which Tyamzashe's life unfolded itself under the influences of people and circumstances. In doing so I have tried to bear in mind the main theme - Tyamzashe himself. My problem was not so much what to include but what to leave out; thus I have not provided the scene with a detailed background. The section on missionary contact is necessary for an understanding of the great changes brought about by culture contact, as well as for putting Tyamzashe into his historical background. I have also stressed Lovedale because musical change as exemplified in the music of early Bantu converts was centralized there. Finally, the thesis of this study is: despite the changes introduced into Bantu music by culture contact, one perceives, in the works of Tyamzashe, the beginnings of a new pattern of integration. p. 2-3.
- Full Text:
- Date Issued: 1968
An investigation into the preservation and development of the human voice with special reference to children and adolescents
- Authors: Gruber, I M S
- Date: 1967
- Subjects: Voice Voice culture -- Exercises Voice -- Care and hygiene Singing -- Studies & exercises
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2681 , http://hdl.handle.net/10962/d1012103
- Description: The voice is the only natural and, when properly trained, also the most perfect instrument. Any other instrument, be it string, wind or percussion, is a separate entity, an object devised by man, and over the years altered, improved and perfected. None of those, from primitive pipes to the most intricate electronic apparatus can produce a single sound without human aid. It needs someone to play it manually and/or orally. Intro., p. 1.
- Full Text:
- Date Issued: 1967
- Authors: Gruber, I M S
- Date: 1967
- Subjects: Voice Voice culture -- Exercises Voice -- Care and hygiene Singing -- Studies & exercises
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2681 , http://hdl.handle.net/10962/d1012103
- Description: The voice is the only natural and, when properly trained, also the most perfect instrument. Any other instrument, be it string, wind or percussion, is a separate entity, an object devised by man, and over the years altered, improved and perfected. None of those, from primitive pipes to the most intricate electronic apparatus can produce a single sound without human aid. It needs someone to play it manually and/or orally. Intro., p. 1.
- Full Text:
- Date Issued: 1967
An investigation into the importance of rhythmic and melodic variation for Brahm's development sections, with special reference to his four symphonies
- Authors: Schoeman, Delene Letitia
- Date: 1966
- Subjects: Brahms, Johannes, 1833-1897 -- Symphonies , Variations -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2690 , http://hdl.handle.net/10962/d1013170
- Description: "Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.
- Full Text:
- Date Issued: 1966
- Authors: Schoeman, Delene Letitia
- Date: 1966
- Subjects: Brahms, Johannes, 1833-1897 -- Symphonies , Variations -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2690 , http://hdl.handle.net/10962/d1013170
- Description: "Variation is one of the oldest and most elemental types of music, beloved and practised by all musicians since the early lute and keyboard composers." The principle of the variation is that of "variety within unity, secured by the reproduction of limited musical material in changing aspects and is fundamental to composition." Typical instances are the use of fugal themes in changing combinations and with changing counter-material; continuous sequential expansion of a single motif in the baroque sonata or suite; the symphonic development in classical sonata form; ornamentation, compression, extension or elaboration of recapitulated sections. Intro., p. 1.
- Full Text:
- Date Issued: 1966
Aspects of form and style in Beethoven's string quartets
- Authors: Biesheuvel, Barbara
- Date: 1963
- Subjects: Beethoven, Ludwig van, 1770-1827 -- Quartets -- strings
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2678 , http://hdl.handle.net/10962/d1007645
- Description: Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.
- Full Text:
- Date Issued: 1963
- Authors: Biesheuvel, Barbara
- Date: 1963
- Subjects: Beethoven, Ludwig van, 1770-1827 -- Quartets -- strings
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2678 , http://hdl.handle.net/10962/d1007645
- Description: Many books have been written which deal with the subject of form and style in Beethoven's works. Most writers, however, seem to be satisfied with superficial descriptions - in some cases merely programatic - which do not explain the underlying problems and treatment of form. Furthermore, no book exists, to my knowledge, which delves so deeply and with such detail as to deduce with almost certain accuracy the inner coherency of the form. It is the aim of this analysis to approach the problem in this way. The edition used for this purpose is that one published by Ernst Eulenberg Ltd. London WI, which was edited from the autograph M.S. by Professor Dr. Wilhelm Altman. No comparisons are made with other editions, and possible printer's and other errors are not considered. I chose the works to be studied here, the three quartets Op. 59, for two reasons: 1) the string quartet medium is one of the most suitable types of instrumental music for the study of form, 2) the Op. 59 quartets belong to a period in Beethoven's life when he was particularly intent upon experimentation in form and development of dimension.
- Full Text:
- Date Issued: 1963