The British organ and its music during the nineteenth century
- Authors: Wise, James Patrick Gerald
- Date: 1957
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2694 , http://hdl.handle.net/10962/d1013429
- Description: It is a curious fact that, although the literature of the organ is a reasonably large one, no attempt has been made to study the history of the instrument in Britain in any detail. Hopkins and Rimbault covered a certain amount of ground up to 1800, but even they could not deal very extensively with the subject in a volume that was tracing the history of the organ not only in Britain, but throughout Europe, and not only its history but its construction also. For similar reasons Dr. Sumner? (name unclear), in his recent book, could paint little more than an outline picture. However, the British organ's development prior to 1800 was one that does not admit of very discursive treatment. Progress was lamentably slow in comparison with that of Continental organs; and consequently the nineteenth century dawned with British organ-building literally hundreds of years behind that of France, Germany, Belgium and Holland. Yet, a century later, the position was redeemed, and even before the present era opened, the products of British organ-builders were not merely equal to, but, in general superior to those of the Continent in tonal design, mechanism, in artistic finish, and in ordinary maintenance and preservation. The nineteenth century, then, must clearly be regarded as a remarkable, indeed glorious, period in British organ-building, in fact one is tempted to enquire, whether there exists, in the entire artistic and scientific history of any country a similar example of accelerated development; in which one country has made up three hundred years' leeway in one third of that time. This thesis therefore, sets out to examine and describe the events of the century, and the men who were responsible for those events, to trace the growth of the organ in its various departments, and as the instrument itself is only a means to an end, to say something about the way in which it was used, the music that was played on it, and the men who played and composed this music. The thesis is divided into two volumes, the first deals entirely with the history of the instrument and its builders during the nineteenth century, with an introduction briefly recounting the story from the Restoration up to the year 1800; and the second volume is concerned with the music and the musicians as well as the several detailed indexes which are so necessary if a work of this kind is to be of any value at all. A full bibliography is given in Volume Two, but supreme acknowledgement must be paid here to the quarterly periodical "The Organ" - still thriving after an active career that began in July 1921. Its scholarly articles range over the whole field of international organ-building and organ-history, and without its help this thesis would have been far less comprehensive in its scope and far lesss authorative in its source-material.
- Full Text:
- Date Issued: 1957
- Authors: Wise, James Patrick Gerald
- Date: 1957
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2694 , http://hdl.handle.net/10962/d1013429
- Description: It is a curious fact that, although the literature of the organ is a reasonably large one, no attempt has been made to study the history of the instrument in Britain in any detail. Hopkins and Rimbault covered a certain amount of ground up to 1800, but even they could not deal very extensively with the subject in a volume that was tracing the history of the organ not only in Britain, but throughout Europe, and not only its history but its construction also. For similar reasons Dr. Sumner? (name unclear), in his recent book, could paint little more than an outline picture. However, the British organ's development prior to 1800 was one that does not admit of very discursive treatment. Progress was lamentably slow in comparison with that of Continental organs; and consequently the nineteenth century dawned with British organ-building literally hundreds of years behind that of France, Germany, Belgium and Holland. Yet, a century later, the position was redeemed, and even before the present era opened, the products of British organ-builders were not merely equal to, but, in general superior to those of the Continent in tonal design, mechanism, in artistic finish, and in ordinary maintenance and preservation. The nineteenth century, then, must clearly be regarded as a remarkable, indeed glorious, period in British organ-building, in fact one is tempted to enquire, whether there exists, in the entire artistic and scientific history of any country a similar example of accelerated development; in which one country has made up three hundred years' leeway in one third of that time. This thesis therefore, sets out to examine and describe the events of the century, and the men who were responsible for those events, to trace the growth of the organ in its various departments, and as the instrument itself is only a means to an end, to say something about the way in which it was used, the music that was played on it, and the men who played and composed this music. The thesis is divided into two volumes, the first deals entirely with the history of the instrument and its builders during the nineteenth century, with an introduction briefly recounting the story from the Restoration up to the year 1800; and the second volume is concerned with the music and the musicians as well as the several detailed indexes which are so necessary if a work of this kind is to be of any value at all. A full bibliography is given in Volume Two, but supreme acknowledgement must be paid here to the quarterly periodical "The Organ" - still thriving after an active career that began in July 1921. Its scholarly articles range over the whole field of international organ-building and organ-history, and without its help this thesis would have been far less comprehensive in its scope and far lesss authorative in its source-material.
- Full Text:
- Date Issued: 1957
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
Between Renaissance and Baroque: a study of the keybord works of Frescobaldi
- Authors: Maske, H H
- Date: 1963
- Subjects: Frescobaldi, Girolamo,1583-1643 -- Keyboard instrument music , Frescobaldi, Girolamo, 1583-1643 -- Criticism and interpretation , Music -- Italy -- 17th century , Organ music -- History and criticism , Keyboard instrument music -- 17th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2686 , http://hdl.handle.net/10962/d1012841
- Description: The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.
- Full Text:
- Date Issued: 1963
- Authors: Maske, H H
- Date: 1963
- Subjects: Frescobaldi, Girolamo,1583-1643 -- Keyboard instrument music , Frescobaldi, Girolamo, 1583-1643 -- Criticism and interpretation , Music -- Italy -- 17th century , Organ music -- History and criticism , Keyboard instrument music -- 17th century -- History and criticism
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2686 , http://hdl.handle.net/10962/d1012841
- Description: The present study is an attempt to enlarge upon the proposition that the age of Frescobaldi was, like all others, an age of transition, in his case the transition from Renaissance to Baroque. His position within this change is central, both in time and importance. In our first two chapters, the various categories of keyboard works which he enriched will be considered, with their prehistories, his contributions, and analyses of individual pieces. In chapter I the works mainly of instrumental origin will be dealt with, and in chapter ll those of more vocal derivation. In the final chapter, the information thus gleaned will be used to demonstrate his exact position within the transition, particularly with regard to its two most important aspects, the harmonic field and the interaction of vocal and instrumental elements.
- Full Text:
- Date Issued: 1963
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
An historical survey of the organs, organists and music of St. George's Cathedral, Cape Town, from 1834 to 1952
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
- Authors: Smith, Barry, 1939-
- Date: 1969
- Subjects: St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2665 , http://hdl.handle.net/10962/d1004745 , St. George's Cathedral (Cape Town, South Africa) , Organ (Musical instrument) -- South Africa -- Cape Town -- History , Organists
- Description: From Introduction: The first recorded Church of England service at the Cape took place in 1749, but for almost a century after that date Anglicans had no place of worship of their own. From about 1807 onwards the Groote Kerk in Adderley Street was regularly lent to the Chaplain on Sundays and the Kerkraad even allowed their bells to be rung to inform 'the British that it was time for their service'. In October 1827, for the first time in history, a bishop of the Church of England visited Cape Town. This was Dr. J.T. James, Bishop of Calcutta, who landed for a few days on his first voyage to India and was met by the Governor and his staff in great state. A meeting was held at which Bishop James was present and the eighteen gentlemen discussed proposals for the building of an English Church in Cape Town. "It was proposed that the building should hold at least 1,000 people. The Bishop said that the Home Government would grant ground and half the expenses... He reminded them of their obligation to the Dutch Church, who for so many years had allowed them to use their sanctuary, and he exhorted them to be active and persevering and remain attached to the doctrine and discipline of the Church of their forefathers, that venerable Church based on the foundation of Christ and His Apostles." As a result of t his meeting the Governor gave the site in the Gardens (at the foot of the Avenue) on which St . George's Cathedral now stands, and the site was consecrated by Bishop James on October 23rd, just before he sailed for Calcutta . "But after his departure the glow faded away, difficulties and quarrels appeared... and the scheme was shelved for two years." However, on St. George's Day, 23rd April 1830, the foundation stone of St. George's Church was laid by the Governor, Sir Lowry Cole,with military and Masonic honours. A triumphal arch was erected and troops lined the streets through which the procession was to pass. The name of the street at the head of which the Cathedral stands was changed from Bergh Street to St. George' s Street, and the contract was exclusive of enclosure, gates, bells and organ, but including pulpit, reading and clerk 's desks and all the work of the altar."
- Full Text:
- Date Issued: 1969
The theory and practice of "Klangreihenkomposition"
- Authors: Nowotny, Norbert W
- Date: 1969
- Subjects: Hauer, Josef Matthias, 1883-1959 , Music theory , Twelve-tone system , Musical intervals and scales , Tonality
- Language: German
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2693 , http://hdl.handle.net/10962/d1013394
- Description: Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.
- Full Text:
- Date Issued: 1969
- Authors: Nowotny, Norbert W
- Date: 1969
- Subjects: Hauer, Josef Matthias, 1883-1959 , Music theory , Twelve-tone system , Musical intervals and scales , Tonality
- Language: German
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2693 , http://hdl.handle.net/10962/d1013394
- Description: Diese Arbeit befaßt sich mit der "Klangreihenlehre'', einer Musiktheorie, die von Josef Matthias Hauer aufgestellt und von meinem Lehrer Othmar Steinbauer weiterentwickelt wurde. Diese auf der Gesetzmäßigkeit der zwölf Töne beruhende Satzlehre hat jedoch mit der "Reihentechnik" jener Musik, die schlechthin als "Zwölftonmusik" bezeichnet wird, nichts gemein. Obwohl eine beachtliche Literatur über J.M. Hauer vorliegt, ist sie doch, was Hauers Musiktheorie betrifft, nicht zufriedenstellend, da sie hauptsächlich auf sein Leben und seine Musikphilosophie eingeht.
- Full Text:
- Date Issued: 1969
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
The history, organization and training of wind bands
- Authors: Honey, Albert Edward
- Date: 1973
- Subjects: Band music -- Instruction and study , Band music -- Analysis, appreciation , Bands (Music) -- Instruction and study , Bands (Music)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2692 , http://hdl.handle.net/10962/d1013343
- Description: From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"
- Full Text:
- Date Issued: 1973
- Authors: Honey, Albert Edward
- Date: 1973
- Subjects: Band music -- Instruction and study , Band music -- Analysis, appreciation , Bands (Music) -- Instruction and study , Bands (Music)
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2692 , http://hdl.handle.net/10962/d1013343
- Description: From introduction: The decision to use the term "Wind Band" in connection with this work was made after much careful deliberation. The English word "Band" is derived from the French "bande" meaning a group of players. It was first applied in this context in England when the Twenty-four Violins at the Court of Charles II (in emulation of "Le Vingt-quatre Violons du Roi at the Court of Louis XIV of France) were known in England as "The King's Band "Band" is a title generally given at the present time to any of instrumentalists, and indeed, many of the World's most famous conductors have been known to refer to any large symphony orchestra as "The Band" and the dressing-room of every Symphony or Concert orchestra in the British Isles is invariably called "The Band-Room"
- Full Text:
- Date Issued: 1973
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.
- Full Text:
- 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.
- Full Text:
- 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.
- Full Text:
- 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.
- Full Text:
- Date Issued: 1974
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
Pitch learning and the implications for music education
- Authors: Byrd, Audrey S
- Date: 1977
- Subjects: Musical pitch -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2627 , http://hdl.handle.net/10962/d1001867
- Description: A study of pitch learning must outline first the procedures involved in such learning and then identify specific factors appearing to influence the learning of pitch. Once identified, each factor can then be evaluated by controlled experiment before confirming its influence. Since it is what is heard and perceived that is learnt, I have started with the process of Hearing and Perceiving, for as Arnold Abramovitz, Senior Lecturer in Psychology at Cape Town says, “the reception, processing and interpretation of acoustic symbols constitutes some of the most elusive and complex phenomena to attempt to examine, gauge and measure, due partly to the transient, ephemeral nature of sound itself.”
- Full Text:
- Date Issued: 1977
- Authors: Byrd, Audrey S
- Date: 1977
- Subjects: Musical pitch -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2627 , http://hdl.handle.net/10962/d1001867
- Description: A study of pitch learning must outline first the procedures involved in such learning and then identify specific factors appearing to influence the learning of pitch. Once identified, each factor can then be evaluated by controlled experiment before confirming its influence. Since it is what is heard and perceived that is learnt, I have started with the process of Hearing and Perceiving, for as Arnold Abramovitz, Senior Lecturer in Psychology at Cape Town says, “the reception, processing and interpretation of acoustic symbols constitutes some of the most elusive and complex phenomena to attempt to examine, gauge and measure, due partly to the transient, ephemeral nature of sound itself.”
- Full Text:
- Date Issued: 1977
Pitch learning and the implications for music education
- Authors: Byrd, Audrey S
- Date: 1977
- Subjects: Musical pitch -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2675 , http://hdl.handle.net/10962/d1007403
- Description: From introduction: A study of pitch learning must outlina first the procedures involved in such learning ar~d then identify specific factors appearing to influence the learning of pitch. Once identified, each factor can then be evaluated by controlled experiment before confirming its influence. Since it is \'lhat is heard and perceived that is learnt, I have started with the process of Hearing and Perceiving, for as Arnold Abramovitz, Senior Lecturer in Psychology at Cape Town says, "the reception, processing and interpretation of acoustic symbols constitutes some of the most elusive and complex phenomena to attempt to examine, gauge and measure, due partly to the transient, ephemeral nature of sound itself."
- Full Text:
- Date Issued: 1977
- Authors: Byrd, Audrey S
- Date: 1977
- Subjects: Musical pitch -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2675 , http://hdl.handle.net/10962/d1007403
- Description: From introduction: A study of pitch learning must outlina first the procedures involved in such learning ar~d then identify specific factors appearing to influence the learning of pitch. Once identified, each factor can then be evaluated by controlled experiment before confirming its influence. Since it is \'lhat is heard and perceived that is learnt, I have started with the process of Hearing and Perceiving, for as Arnold Abramovitz, Senior Lecturer in Psychology at Cape Town says, "the reception, processing and interpretation of acoustic symbols constitutes some of the most elusive and complex phenomena to attempt to examine, gauge and measure, due partly to the transient, ephemeral nature of sound itself."
- Full Text:
- Date Issued: 1977
Music in Grahamstown, 1880-1900
- Authors: Sparrow, Marion Janet
- Date: 1978
- Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
- Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
- Full Text:
- Date Issued: 1978
- Authors: Sparrow, Marion Janet
- Date: 1978
- Subjects: Music -- South Africa -- Grahamstown -- History Music -- South Africa -- Eastern Cape -- History
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2674 , http://hdl.handle.net/10962/d1007402
- Description: From Introduction: The previous thesis on the study of music in Grahamstown took the development to the point in history which marked the end of the Kaffir Wars on the Eastern Frontier. From 1880 - 1900, the Military Tradition of Grahamstown remained a strong factor in the daily life of the growing community. During the first decade of this thesis, there were years of retrenching and depression and the rural community, who supported many of the musical concerts, were also hard hit by drought and rinderpest. These problems are noticeable during the course of many of the chapters. The difficulties were overcome. The community grew and new schools were established and the effects of the First City Volunteers being away on minor War efforts, followed by the commencement of the Anglo-Boer War, were only temporarily felt in the musical life of the City. There must be to some extent duplication of information already submitted in an earlier thesis on Church Music. Chapter II - on Music in the Churches - is indispensable, as it reveals much of the heart and soul of the community, and without it the overall picture of the development of music in all spheres, would lose its true balance. It has been impossible to trace all the composers represented on the programmes, particularly those of all the glees and popular songs of the day. In some cases possible composers may perhaps have been suggested. There are obvious misprints which have been hinted at in footnotes. The primary source of information for this thesis has been "The Journal". As virtually all the material has been taken from that source and almost every footnote would have read Ibid . .. , I have dispensed with the abbreviation and merely given the date. Where the source of information changed, this was indicated. Throughout I have adhered to the facts and my deductions and suppositions have been reduced to a minimum .
- Full Text:
- Date Issued: 1978
Aspects of tradition and originality in the chamber music of Robert Schumann
- Authors: Lucia, Christine
- Date: 1979
- Subjects: Schumann, Robert, 1810-1856 Chamber music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2628 , http://hdl.handle.net/10962/d1001973
- Full Text:
- Date Issued: 1979
- Authors: Lucia, Christine
- Date: 1979
- Subjects: Schumann, Robert, 1810-1856 Chamber music
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2628 , http://hdl.handle.net/10962/d1001973
- Full Text:
- Date Issued: 1979
Aspects of the theory and practice of choral training in South African schools
- Authors: Radue, Robin R
- Date: 1980
- Subjects: Choral music -- Scores Choral music -- Instruction and study Choirs (Music) -- Instruction and study , Choral singing , Scores , Children's choirs , Choral training
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2629 , http://hdl.handle.net/10962/d1001974
- Description: Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)
- Full Text:
- Date Issued: 1980
- Authors: Radue, Robin R
- Date: 1980
- Subjects: Choral music -- Scores Choral music -- Instruction and study Choirs (Music) -- Instruction and study , Choral singing , Scores , Children's choirs , Choral training
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2629 , http://hdl.handle.net/10962/d1001974
- Description: Firstly, the matter of constituting a choir is discussed. This involves auditioning, with its attendant problems of nervousness and self-consciousness on the part of the children, and assessment on that of the trainer. In the final analysis, after enthusiastically advertising the rewards to be gained from choral singing, and after trying to create an environment which is seen to be conducive to this philosophy, the trainer has to make the best of the willing forces available. Rehearsals are probably more important than performances, since the time devoted to preparation is much longer. Moreover, the educational value of carefully preparing the music and of becoming acquainted with the techniques of singing and with the aesthetic niceties of style and interpretation should by no means be underestimated. The choir and trainer get to know not only the music but also each other, and the trainer has to use his skills wisely in developing the human and musical resources available to him, in order to realize their greatest potential (Introduction, p. ii-iii)
- Full Text:
- Date Issued: 1980
The church music of Felix Mendelssohn-Bartholdy :|ban investigation into formal and stylistic aspects of his organ and sacred choral works
- Authors: Johnson, Bruce Richard
- Date: 1981
- Subjects: Mendelssohn-Bartholdy, Felix, 1809-1847 Church music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2669 , http://hdl.handle.net/10962/d1006880
- Full Text:
- Date Issued: 1981
- Authors: Johnson, Bruce Richard
- Date: 1981
- Subjects: Mendelssohn-Bartholdy, Felix, 1809-1847 Church music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2669 , http://hdl.handle.net/10962/d1006880
- Full Text:
- Date Issued: 1981
Die musikale potensiaal van die kleuter en die ontwikkeling van 'n sillabus vir pre-primêre musiekopvoeding met besondere verwysing na die Dalcroze-, Kodaly-, en Orff-metodes
- Authors: Hendrikse, Salomé
- Date: 1982
- Language: Afrikaans
- Type: Thesis , Masters , MMus
- Identifier: vital:2667 , http://hdl.handle.net/10962/d1006147
- Full Text:
- Date Issued: 1982
- Authors: Hendrikse, Salomé
- Date: 1982
- Language: Afrikaans
- Type: Thesis , Masters , MMus
- Identifier: vital:2667 , http://hdl.handle.net/10962/d1006147
- Full Text:
- Date Issued: 1982
Perspectives on the nine symphonies of Anton Bruckner : aspects of thematic and harmonic compositional techniques, with special reference to the first and final movements, symphonies one to nine
- Authors: Gibson, Penelope Anne
- Date: 1982
- Subjects: Bruckner, Anton, 1824-1896 -- Symphonies
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2671 , http://hdl.handle.net/10962/d1007168
- Description: Preface: This thesis presents perspectives on Bruckner's compositional approach with regard to theme and harmony in the first and final movements of his symphonies one to nine. It must be realised that a fully systematic and comprehensive discussion along these lines would run into volumes. So, salient examples and common tendencies have been extracted as representative of the overall approach. However, Bruckner being the composer he is, is not dogmatic in his approach to composition and so the reader must at all times see for himself how the general technique is adapted to the individual usage in those parts not referred to in this thesis. The thesis presents the subject features of the expositions, first movements, as these are found in various adaptations in all other movements: it also aims to present a comparative study of the structural tonal principles of the works, showing how these influence the thematic forms. Whenever necessary, in the text, definitions are repeated in their original format to avoid cumbersome cross references. The most immediate source is the scores themselves, issued by the International Bruckner Society of Vienna, compiled by Dr. Leopold Nowak. All the analysis is based on these editions except for the third symphony which is based on the 2. Edition of 1878 (Wiesbaden G.M.B .H.)
- Full Text:
- Date Issued: 1982
- Authors: Gibson, Penelope Anne
- Date: 1982
- Subjects: Bruckner, Anton, 1824-1896 -- Symphonies
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2671 , http://hdl.handle.net/10962/d1007168
- Description: Preface: This thesis presents perspectives on Bruckner's compositional approach with regard to theme and harmony in the first and final movements of his symphonies one to nine. It must be realised that a fully systematic and comprehensive discussion along these lines would run into volumes. So, salient examples and common tendencies have been extracted as representative of the overall approach. However, Bruckner being the composer he is, is not dogmatic in his approach to composition and so the reader must at all times see for himself how the general technique is adapted to the individual usage in those parts not referred to in this thesis. The thesis presents the subject features of the expositions, first movements, as these are found in various adaptations in all other movements: it also aims to present a comparative study of the structural tonal principles of the works, showing how these influence the thematic forms. Whenever necessary, in the text, definitions are repeated in their original format to avoid cumbersome cross references. The most immediate source is the scores themselves, issued by the International Bruckner Society of Vienna, compiled by Dr. Leopold Nowak. All the analysis is based on these editions except for the third symphony which is based on the 2. Edition of 1878 (Wiesbaden G.M.B .H.)
- Full Text:
- Date Issued: 1982
The development of cello technique in the string quartets of Joseph Haydn with special reference to (a) the various external influences causing this development and (b) the potential use of the cello parts within a teaching situation
- Sholto-Douglas, Ishbel Elizabeth Fraser
- Authors: Sholto-Douglas, Ishbel Elizabeth Fraser
- Date: 1982
- Subjects: Haydn, Joseph, 1732-1809 -- Quartets, strings Cello -- Methods Cello -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2666 , http://hdl.handle.net/10962/d1005864
- Description: From Introduction: In the middle of the eighteenth century, when Haydn began composing his first string quartets, violin writing was highly advanced and the violin an established solo instrument, its supremacy already firmly endorsed by the Italian Violin Schools of the seventeenth and early eighteenth centuries. The pace of development of the cello, however, was not comparable to that of the violin, despite the fact that the first cello known to us was made in 1572.
- Full Text:
- Date Issued: 1982
- Authors: Sholto-Douglas, Ishbel Elizabeth Fraser
- Date: 1982
- Subjects: Haydn, Joseph, 1732-1809 -- Quartets, strings Cello -- Methods Cello -- Instruction and study
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2666 , http://hdl.handle.net/10962/d1005864
- Description: From Introduction: In the middle of the eighteenth century, when Haydn began composing his first string quartets, violin writing was highly advanced and the violin an established solo instrument, its supremacy already firmly endorsed by the Italian Violin Schools of the seventeenth and early eighteenth centuries. The pace of development of the cello, however, was not comparable to that of the violin, despite the fact that the first cello known to us was made in 1572.
- Full Text:
- Date Issued: 1982