A short composition portfolio
- Buitendag, Kingsley Alexander
- Authors: Buitendag, Kingsley Alexander
- Date: 2011
- Subjects: Music -- South Africa Composition (Music)
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: vital:2632 , http://hdl.handle.net/10962/d1002297
- Full Text:
- Date Issued: 2011
- Authors: Buitendag, Kingsley Alexander
- Date: 2011
- Subjects: Music -- South Africa Composition (Music)
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: vital:2632 , http://hdl.handle.net/10962/d1002297
- Full Text:
- Date Issued: 2011
Composition portfolio
- Authors: Moss, Keith
- Date: 2007
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193724 , vital:45390
- Description: Whitacre's music is primarily diatonic with subtle modulations, where the new key is always preserved diatonicaliy as well. I refer to this style as expanded diatonicism. Examples in my work of expanded diatonicism within this portfolio are to be found in navem ad somnium, Wynken, Blynken and Nod, as well as Hymn for Brass. My applications of expanded diatonic practices within each of these works are discussed in a separate appendix within the body of this portfolio. That these works are vocal or have a vocal inspiration (Hymn for Brass) reveals the extent of my initial reaction to Whitacre's music during a choral rehearsal. Furthermore, in my vocal compositions especially I chose texts which frequently gravitate towards ideas related to water, the ocean and ships. Whilst water has a soothing and inspiring influence upon me, presumably evidenced in my expanded diatonicism, it also represents my journey and investigation into the sound work of Whitacre in particular. It may be noticed that many of my works in this portfolio have religious orientated themes. I am a Christian, and belong to a Berean 2 Congregational Church. Whilst I am not Catholic or Anglican, I nonetheless have made use of texts from the liturgy of these denominations, as they emphasise the basis of my Christian faith. Why I chose Hymn for Brass as a title could possibly be construed as a religious reference, however it was named after the piece was written, and had no theological connotations in its inception save for the hymnody style of the orchestration. Providence and The Eventide both have a Christian philosophical foundation which is explored in depth in the accompanying appendix. The latter work explores an extension of my expanded diatonic style through incorporating aspects of chromaticism. The rationale for this is dealt with in my discussion of this work. This portfolio represents an overview of my compositional activities to date and displays my growing confidence with the technical aspects of composition as well as my yearning for experimentation with new ideas and manners of expression. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2007
- Full Text:
- Date Issued: 2007
- Authors: Moss, Keith
- Date: 2007
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193724 , vital:45390
- Description: Whitacre's music is primarily diatonic with subtle modulations, where the new key is always preserved diatonicaliy as well. I refer to this style as expanded diatonicism. Examples in my work of expanded diatonicism within this portfolio are to be found in navem ad somnium, Wynken, Blynken and Nod, as well as Hymn for Brass. My applications of expanded diatonic practices within each of these works are discussed in a separate appendix within the body of this portfolio. That these works are vocal or have a vocal inspiration (Hymn for Brass) reveals the extent of my initial reaction to Whitacre's music during a choral rehearsal. Furthermore, in my vocal compositions especially I chose texts which frequently gravitate towards ideas related to water, the ocean and ships. Whilst water has a soothing and inspiring influence upon me, presumably evidenced in my expanded diatonicism, it also represents my journey and investigation into the sound work of Whitacre in particular. It may be noticed that many of my works in this portfolio have religious orientated themes. I am a Christian, and belong to a Berean 2 Congregational Church. Whilst I am not Catholic or Anglican, I nonetheless have made use of texts from the liturgy of these denominations, as they emphasise the basis of my Christian faith. Why I chose Hymn for Brass as a title could possibly be construed as a religious reference, however it was named after the piece was written, and had no theological connotations in its inception save for the hymnody style of the orchestration. Providence and The Eventide both have a Christian philosophical foundation which is explored in depth in the accompanying appendix. The latter work explores an extension of my expanded diatonic style through incorporating aspects of chromaticism. The rationale for this is dealt with in my discussion of this work. This portfolio represents an overview of my compositional activities to date and displays my growing confidence with the technical aspects of composition as well as my yearning for experimentation with new ideas and manners of expression. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2007
- Full Text:
- Date Issued: 2007
Understanding form and technique : Andrew Tracey's contribution to knowledge of lamellophone (mbira) music of Southern Africa
- Authors: Gumboreshumba, Laina
- Date: 2009
- Subjects: Tracey, Andrew T N Ethnomusicology -- Africa Mbira Mbira music
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2638 , http://hdl.handle.net/10962/d1002303
- Description: This thesis interrogates Andrew Tracey’s career as an ethnomusicologist and the significance of his research and publications on lamellophone (mbira) music of the Shona/Sena in Zimbabwe and Mozambique to subsequent scholarship of lamellophones throughout southern Africa. Through a survey of authors who have cited Tracey’s publications, this study assess how his use of the pulse notation transcription method and his theory of form and harmonic structure in mbira music, which he terms ‘the system of the mbira’ (A. Tracey, 1989) have influenced and contributed to the work of ethnomusicologists, musicologists and composers. Further this research evaluates the impact on subsequent publications by other scholars of Tracey's technical analysis of mbira music. Organizing and indexing Andrew Tracey's field collection in the ILAM archive gave direct knowledge of the scope of his work. The thesis consists of six chapters. The first chapter contains a general introduction to the thesis and outlines the goals of the research. Chapter Two presents a biographical sketch of Andrew Tracey. A general introduction to the lamellophone (mbira) family of musical instruments in Zimbabwe and elsewhere in Africa is presented in Chapter Three, which also addresses the social function of lamellophone music. Chapter Four gives a summary of Andrew Tracey’s research on the Shona mbira (his publications, recordings, films etc), and it analyzes his theory - “The system of the mbira” - in which he defines the form and structure of mbira music. Chapter Five examines the impact of Andrew Tracey’s research and publications on mbira music to subsequent scholarship and makes an analysis and evaluation of the significance of his contribution to the body of knowledge of the instrument and its music. In addition I relate my personal experiences with mbira music as a Shona person and mbira player and give my opinions on Tracey’s and subsequent scholars’ theories on mbira music. Chapter Six concludes with a summary of outcomes of this research. Basing on the analyses of presented data, it is deduced that, despite a few shortcomings, Andrew Tracey’s research on mbira music is crucial for it laid the groundwork for subsequent mbira scholarship.
- Full Text:
- Date Issued: 2009
- Authors: Gumboreshumba, Laina
- Date: 2009
- Subjects: Tracey, Andrew T N Ethnomusicology -- Africa Mbira Mbira music
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2638 , http://hdl.handle.net/10962/d1002303
- Description: This thesis interrogates Andrew Tracey’s career as an ethnomusicologist and the significance of his research and publications on lamellophone (mbira) music of the Shona/Sena in Zimbabwe and Mozambique to subsequent scholarship of lamellophones throughout southern Africa. Through a survey of authors who have cited Tracey’s publications, this study assess how his use of the pulse notation transcription method and his theory of form and harmonic structure in mbira music, which he terms ‘the system of the mbira’ (A. Tracey, 1989) have influenced and contributed to the work of ethnomusicologists, musicologists and composers. Further this research evaluates the impact on subsequent publications by other scholars of Tracey's technical analysis of mbira music. Organizing and indexing Andrew Tracey's field collection in the ILAM archive gave direct knowledge of the scope of his work. The thesis consists of six chapters. The first chapter contains a general introduction to the thesis and outlines the goals of the research. Chapter Two presents a biographical sketch of Andrew Tracey. A general introduction to the lamellophone (mbira) family of musical instruments in Zimbabwe and elsewhere in Africa is presented in Chapter Three, which also addresses the social function of lamellophone music. Chapter Four gives a summary of Andrew Tracey’s research on the Shona mbira (his publications, recordings, films etc), and it analyzes his theory - “The system of the mbira” - in which he defines the form and structure of mbira music. Chapter Five examines the impact of Andrew Tracey’s research and publications on mbira music to subsequent scholarship and makes an analysis and evaluation of the significance of his contribution to the body of knowledge of the instrument and its music. In addition I relate my personal experiences with mbira music as a Shona person and mbira player and give my opinions on Tracey’s and subsequent scholars’ theories on mbira music. Chapter Six concludes with a summary of outcomes of this research. Basing on the analyses of presented data, it is deduced that, despite a few shortcomings, Andrew Tracey’s research on mbira music is crucial for it laid the groundwork for subsequent mbira scholarship.
- Full Text:
- Date Issued: 2009
Composition portfolio
- Boesack, Lenrick Jonathan Angus
- Authors: Boesack, Lenrick Jonathan Angus
- Date: 2017
- Subjects: Piano music , Prepared piano music , Saxophone music
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/56233 , vital:26786
- Description: This short composition portfolio comprises 40% of the requirements for the Master of Music Degree in performance and composition at Rhodes University. In addition to the music presented here, I played two public exam recitals of 70 minutes each. While I played piano as a child, my main instrument during my BMUS studies at the University of Cape Town (2004-2007) was the saxophone. In 2010 I was diagnosed with Polymyositis(an auto-immune desease) which particularly affected my breathing and therefore my ability to play the saxophone. For this reason I opted to play my recitals on the piano. The first recital focused on interpretations of Swing Era, Bebop and post-Bebop standards such as: Someday my prince will come, What is this thing called love, In your own sweet way, Eternal Triangle, Recordame, Peace, Dolphin Dance, Caravan and Some other blues. The second recital comprised of seven original compositions that were presented in trio, quartet and quintet settings.
- Full Text:
- Date Issued: 2017
- Authors: Boesack, Lenrick Jonathan Angus
- Date: 2017
- Subjects: Piano music , Prepared piano music , Saxophone music
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/56233 , vital:26786
- Description: This short composition portfolio comprises 40% of the requirements for the Master of Music Degree in performance and composition at Rhodes University. In addition to the music presented here, I played two public exam recitals of 70 minutes each. While I played piano as a child, my main instrument during my BMUS studies at the University of Cape Town (2004-2007) was the saxophone. In 2010 I was diagnosed with Polymyositis(an auto-immune desease) which particularly affected my breathing and therefore my ability to play the saxophone. For this reason I opted to play my recitals on the piano. The first recital focused on interpretations of Swing Era, Bebop and post-Bebop standards such as: Someday my prince will come, What is this thing called love, In your own sweet way, Eternal Triangle, Recordame, Peace, Dolphin Dance, Caravan and Some other blues. The second recital comprised of seven original compositions that were presented in trio, quartet and quintet settings.
- Full Text:
- Date Issued: 2017
Transnational habitus : Mariem Hassan as the transcultural representation of the relationship between Saharaui music and Nubenegra records
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
- Authors: Gimenez Amoros, Luis
- Date: 2015
- Subjects: Hassan, Mariem, 1958- , Nubenegra Records , Sahrawi (African people) -- Music -- Cross-cultural studies , Sahrawi (African people) -- Music -- Foreign influences , Transnationalism , Cross-cultural studies -- Spain
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2697 , http://hdl.handle.net/10962/d1017819
- Description: This thesis expands on primary field research conducted for my MMus degree. Undertaken in the Saharaui refugee camps of southern Algeria (2004-2005) that research - based on ethnographic data and the analysis of Saharaui music, known as Haul ¹- focussed on the musical system, the social context of musical performance and the music culture in Saharaui refugee camps. This doctoral research examines Saharaui Haul music as practised in Spain and is particularly focussed on its entry, since 1998, into the global market by way of the World Music label, Nubenegra records. The encounter between Saharaui musicians and Nubenegra records has created a new type of Saharaui Haul which is different to that played in the refugee camps. This phenomenon has emerged as a result of western music producers compelling Saharaui musicians to introduce musical changes so that both parties may be considered as musical agents occupying different positions on a continuum of tradition and change. Nubenegra undertook the commodification of Saharaui music and disseminated it from the camps to the rest of the world. A musical and social analysis of the relationship between Nubenegra and Saharaui musicians living in Spain will form the basis of the research in this thesis. In particular, Mariem Hassan is an example of a musician who had her music disseminated through the relationship with Nubenegra and she is promoted as the music ambassador of the Western Sahara. I collaborated with her as a composer and performer on her last album, El Aaiun egdat (Aaiun in fire), in 2012² and gained first hand insight into the relationship between Mariem and Nubenegra. This thesis reflects on this relationship and my role in facilitating this encounter.
- Full Text:
- Date Issued: 2015
The ballads of Carl Loewe : examined within their cultural, human and aesthetic context
- Authors: Mierowska, Jean Elaine Nora
- Date: 1989
- Subjects: Loewe, Carl, 1796-1869. Songs. Selections Loewe, Carl, 1796-1869. Songs
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2649 , http://hdl.handle.net/10962/d1002314
- Description: This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.
- Full Text:
- Date Issued: 1989
- Authors: Mierowska, Jean Elaine Nora
- Date: 1989
- Subjects: Loewe, Carl, 1796-1869. Songs. Selections Loewe, Carl, 1796-1869. Songs
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2649 , http://hdl.handle.net/10962/d1002314
- Description: This thesis has been written in order to provide, especially for the non-German-reading musician, a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano. Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction. After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional type are discussed and compared. Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others. Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads, many of which possess great beauty and originality, amply repaying study and, still more, performance. As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday's vocal repertoire.
- Full Text:
- Date Issued: 1989
Performing Emil Hartmann – The Importance of Musical Contextualisation: A practice-based research project
- Authors: Robertson, Garreth Damon
- Date: 2021-10-29
- Subjects: Hartmann, Emil, 1836-1898 , Hartmann, Emil, 1836-1898 Criticism and interpretation History 19th century , Practice (Philosophy) , Research Methodology , Contextualism (Philosophy) , Music Denmark History and criticism , Music appreciation , Musical analysis
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190771 , vital:45026
- Description: When embarking on a journey of preparing a musical work for performance, a contextualisation process is undertaken which informs the performer/s of the factors which govern the parameters of the work. In this study, the author performed Emil Hartmann’s piano trio op. 10 as a part of an integrated master’s degree program. As the composer was not a part of mainland European musical society, information on his life and work was difficult to access, which presented the performer with a contextualisation problem. This study aimed to highlight the process of contextualisation, in the absence of sufficient literary material, through the lens of Emil Hartmann’s piano trio op. 10. The research used a three-pronged methodological approach in order to construct the narrative around Hartmann’s life and composition. Through a structured process of using practice-based research to analyse the creative process undertaken by the practitioners, alongside a micro-historical and analytical methodology, the study builds layers of understanding to inform Hartmann’s narrative, and thus provides interpretational insight into the execution of the work. The research finds that, although it is possible to interpret a musical work based on the musical score, there are layers of depth which cannot be accessed without a contextual understanding of the composer and the conditions in which the composition was written. Through forming the narrative on Emil Hartmann and his piano trio, the research uses the methodology to highlight a method which can be undertaken in the absence of contextual knowledge, and thus presents a contextual understanding of Emil Hartmann’s narrative. With the constructed knowledge, the author uses the findings based on the methodological approaches to weave a narrative around the life of Emil Hartmann. Applying the information discovered in the findings, interpretational approaches are discussed to inform future performances of the work. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Robertson, Garreth Damon
- Date: 2021-10-29
- Subjects: Hartmann, Emil, 1836-1898 , Hartmann, Emil, 1836-1898 Criticism and interpretation History 19th century , Practice (Philosophy) , Research Methodology , Contextualism (Philosophy) , Music Denmark History and criticism , Music appreciation , Musical analysis
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190771 , vital:45026
- Description: When embarking on a journey of preparing a musical work for performance, a contextualisation process is undertaken which informs the performer/s of the factors which govern the parameters of the work. In this study, the author performed Emil Hartmann’s piano trio op. 10 as a part of an integrated master’s degree program. As the composer was not a part of mainland European musical society, information on his life and work was difficult to access, which presented the performer with a contextualisation problem. This study aimed to highlight the process of contextualisation, in the absence of sufficient literary material, through the lens of Emil Hartmann’s piano trio op. 10. The research used a three-pronged methodological approach in order to construct the narrative around Hartmann’s life and composition. Through a structured process of using practice-based research to analyse the creative process undertaken by the practitioners, alongside a micro-historical and analytical methodology, the study builds layers of understanding to inform Hartmann’s narrative, and thus provides interpretational insight into the execution of the work. The research finds that, although it is possible to interpret a musical work based on the musical score, there are layers of depth which cannot be accessed without a contextual understanding of the composer and the conditions in which the composition was written. Through forming the narrative on Emil Hartmann and his piano trio, the research uses the methodology to highlight a method which can be undertaken in the absence of contextual knowledge, and thus presents a contextual understanding of Emil Hartmann’s narrative. With the constructed knowledge, the author uses the findings based on the methodological approaches to weave a narrative around the life of Emil Hartmann. Applying the information discovered in the findings, interpretational approaches are discussed to inform future performances of the work. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
Composition portfolio
- Authors: Lemmer, Elizabeth Kate
- Date: 2022-04
- Subjects: Composition (Music) , Music South Africa , COVID-19 (Disease) and the arts , Emotions in music , Violin music Scores , String quartets Scores , Chamber music Scores
- Language: English
- Type: Master's thesis , text , sheet music
- Identifier: http://hdl.handle.net/10962/232624 , vital:50008
- Description: In this portfolio I reflect on issues Covid-19 has brought to our communities and the possibilities of creating a brighter future. My music reflects the struggle that most people have faced in the last two years, the emotions and the conspiracies surrounding the experience, and the effect of solitude. In a time such as this it is almost inevitable that the music being composed is connected to the struggle in society at large. For ma composition is a journal of the heart. The pandemic has created a situation where most are out of touch with each other, have lost all previous routine and structure, where relationships are broken due to lack of personal contact, and almost everyone has unwillingly (or unwittingly) been thrust into self-reflection. Every day sees a new struggle to squeeze in all those pre-pandemic ideals so that some normalcy can be obtained, but this is not a time to be looking back. It’s a time to understand what we are going through, build new joy and excitement for this different life and learn to live the best we can with the opportunities we are given. There has not been a more important time to foster some form of connection with friends and family, and to be as strong and supportive as possible. The portfolio begins with a solo violin piece, Unwelcome Solitude, which exemplifies the loneliness and sadness during the various lockdowns over the last two years, with hints of the past and the difficulties in trying to resurrect pre-Covid-19 times. There are some unusual expressive markings to add to the descriptive effect within the piece. This is followed by The Pandemic, two serialism works: Panic and Pain scored for a string quartet. Both of these pieces apply a flexible use of serialism to emphasize out the emotional aspects of the music, and quite simply; the panic and the pain caused by Covid-19 and the country’s response to the pandemic as a whole. Finally there is a three movement chamber piece titled A Storm Series which quite literally represents the series of events that occur from the upcoming to the closure of a typical Highveld storm. Further than this, these pieces represent the series of events that occurred in South Africa from the first rumour of the Covid-19 virus starting to circle around the world, through the various lockdowns and progression of events in our country and abroad. The final movement of this series, Re-awakening, ends on a positive note representing the rainbow at the end of the storm, and the positive outlook for South Africa to keep persevering through the pandemic. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-04
- Authors: Lemmer, Elizabeth Kate
- Date: 2022-04
- Subjects: Composition (Music) , Music South Africa , COVID-19 (Disease) and the arts , Emotions in music , Violin music Scores , String quartets Scores , Chamber music Scores
- Language: English
- Type: Master's thesis , text , sheet music
- Identifier: http://hdl.handle.net/10962/232624 , vital:50008
- Description: In this portfolio I reflect on issues Covid-19 has brought to our communities and the possibilities of creating a brighter future. My music reflects the struggle that most people have faced in the last two years, the emotions and the conspiracies surrounding the experience, and the effect of solitude. In a time such as this it is almost inevitable that the music being composed is connected to the struggle in society at large. For ma composition is a journal of the heart. The pandemic has created a situation where most are out of touch with each other, have lost all previous routine and structure, where relationships are broken due to lack of personal contact, and almost everyone has unwillingly (or unwittingly) been thrust into self-reflection. Every day sees a new struggle to squeeze in all those pre-pandemic ideals so that some normalcy can be obtained, but this is not a time to be looking back. It’s a time to understand what we are going through, build new joy and excitement for this different life and learn to live the best we can with the opportunities we are given. There has not been a more important time to foster some form of connection with friends and family, and to be as strong and supportive as possible. The portfolio begins with a solo violin piece, Unwelcome Solitude, which exemplifies the loneliness and sadness during the various lockdowns over the last two years, with hints of the past and the difficulties in trying to resurrect pre-Covid-19 times. There are some unusual expressive markings to add to the descriptive effect within the piece. This is followed by The Pandemic, two serialism works: Panic and Pain scored for a string quartet. Both of these pieces apply a flexible use of serialism to emphasize out the emotional aspects of the music, and quite simply; the panic and the pain caused by Covid-19 and the country’s response to the pandemic as a whole. Finally there is a three movement chamber piece titled A Storm Series which quite literally represents the series of events that occur from the upcoming to the closure of a typical Highveld storm. Further than this, these pieces represent the series of events that occurred in South Africa from the first rumour of the Covid-19 virus starting to circle around the world, through the various lockdowns and progression of events in our country and abroad. The final movement of this series, Re-awakening, ends on a positive note representing the rainbow at the end of the storm, and the positive outlook for South Africa to keep persevering through the pandemic. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-04
Composition portfolio
- Authors: Wynne, Donovan
- Date: 2006
- Subjects: Music -- South Africa Composition (Music) String quartets -- Scores
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2658 , http://hdl.handle.net/10962/d1003121
- Description: Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.
- Full Text:
- Date Issued: 2006
- Authors: Wynne, Donovan
- Date: 2006
- Subjects: Music -- South Africa Composition (Music) String quartets -- Scores
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2658 , http://hdl.handle.net/10962/d1003121
- Description: Introductory remarks: Being a middle-class white South African, I grew up on a diet of predominantly "white" music: rock, pop and Western classical music. I was later introduced to a broader range of musics: blues, jazz, kwaito and traditional Southern African idioms. I found myself particularly attracted to the traditional music of the amaXhosa (especially that of the uhadi bow), possibly due to the fact that this music is hexatonic (that is, based on two major triads whose tonics are one tone apart), a system that bears certain resemblances to the Western tonal idiom. However, much of my musical experience tended to be entrenched in the piano and flute music I played: mostly works by composers who were neatly ensconced in the traditional Western canon. Therefore, despite the broad range of musics with which I was familiarisedduring my tertiary studies, I feel that this early experiential background is the reason I feel most comfortable with Western-influenced music. More recently, I discovered a whole new genre to explore: film music, particularly the work of Elliot Goldenthal, Danny Elfman, John Williams and Philip Glass, whose unique brand of minimalism has extended from the concert hall to thefilm theatre. I am fascinated by the ways in which film scores function. A "main titles" theme usually appears as the film opens, upon which most of the subsequent music is based. This is not a linear process, like a theme and its variations, but a lateral, where the main titles theme is the core that engenders other themes that all share a familial resemblance.
- Full Text:
- Date Issued: 2006
A survey of the development of pitch perception theories, their application to bell sounds and an investigation of perceived differences between ringing and chiming bells
- Authors: Botha, Alison
- Date: 1998
- Subjects: Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2631 , http://hdl.handle.net/10962/d1002296 , Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Description: A brief overview of the workings of the human auditory system is followed by a review of literature concerning both the theories and experimental investigations of human pitch perception. The application of these theories to the inharmonic complex tones produced by bells is discussed, and further experiments using bell sounds are reviewed. A methodology for psychoacoustic experiments with specific reference to those investigating pitch perception of inharmonic complex tones is presented. This methodology is then implemented in an experimental investigation of pitch perception of ringing and chiming bell sounds. A pitch matching experiment using ringing and chiming sounds from four bells aimed to determine perceived pitch differences between ringing and chiming bells. This experiment was inconclusive because insufficient data was collected. Known experimental results, such as the inability of non-musicians to match the pitches of sounds with different timbres were confirmed. Spectral analyses of the stimuli were performed. The presentation of stimuli at a low level of sensation is questioned, as this might have prevented pseudo high frequency noise resulting from stronger upper partials in the ringing sound from being audible, and hence the pitch differences between ringing and chiming bells would not be observed.
- Full Text:
- Date Issued: 1998
- Authors: Botha, Alison
- Date: 1998
- Subjects: Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Language: English
- Type: Thesis , Masters , MSc
- Identifier: vital:2631 , http://hdl.handle.net/10962/d1002296 , Music -- Acoustics and physics , Musical pitch , Change ringing , Chimes , Bells
- Description: A brief overview of the workings of the human auditory system is followed by a review of literature concerning both the theories and experimental investigations of human pitch perception. The application of these theories to the inharmonic complex tones produced by bells is discussed, and further experiments using bell sounds are reviewed. A methodology for psychoacoustic experiments with specific reference to those investigating pitch perception of inharmonic complex tones is presented. This methodology is then implemented in an experimental investigation of pitch perception of ringing and chiming bell sounds. A pitch matching experiment using ringing and chiming sounds from four bells aimed to determine perceived pitch differences between ringing and chiming bells. This experiment was inconclusive because insufficient data was collected. Known experimental results, such as the inability of non-musicians to match the pitches of sounds with different timbres were confirmed. Spectral analyses of the stimuli were performed. The presentation of stimuli at a low level of sensation is questioned, as this might have prevented pseudo high frequency noise resulting from stronger upper partials in the ringing sound from being audible, and hence the pitch differences between ringing and chiming bells would not be observed.
- Full Text:
- Date Issued: 1998
Performance of Mhande song-dance: a contextualized and comparative analysis
- Authors: Rutsate, Jerry
- Date: 2008
- Subjects: Karanga (African people) -- Music Shona (African people) -- Music Folk music -- Zimbabwe Music -- Zimbabwe Folk songs, Shona Mhande Dance music -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2655 , http://hdl.handle.net/10962/d1002321
- Description: This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
- Full Text:
- Date Issued: 2008
- Authors: Rutsate, Jerry
- Date: 2008
- Subjects: Karanga (African people) -- Music Shona (African people) -- Music Folk music -- Zimbabwe Music -- Zimbabwe Folk songs, Shona Mhande Dance music -- Zimbabwe
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2655 , http://hdl.handle.net/10962/d1002321
- Description: This thesis is an investigation of the significance of Mhande song-dance in two performance contexts: the Mutoro ritual of the Karanga and the Chibuku Neshamwari Traditional Dance Competition. In addition, I undertake comparative analysis of the structure of Mhande music in relation to the structure of selected genres of Shona indigenous music. The position of Mhande in the larger context of Shona music is determined through analysis of transcriptions of the rhythmic, melodic and harmonic elements of chizambi mouth bow, karimba mbira, ngororombe panpipes, ngano story songs, game, hunting, war, and love songs. Mhande is an indigenous song-dance performed for the mutoro ceremony, the annual rain ritual of the Karanga. The Mhande repertoire consists of distinctive songs and rhythms used for communicating with the majukwa rain spirits. The rain spirits in turn communicate with God (Mwari) the provider of rain, on behalf of the Karanga. Mhande song-dance is performed exactly the same way in the annual Chibuku Neshamwari Traditional Dance Competitions as in the ritual context of the mutoro ceremony. However, in the context of the Competition, it is used for the expression of joy and as a form of cultural identity. The Competition is a forum in which Karanga songdance traditions such as Mhande, compete with other Shona song-dance traditions such as mbakumba, shangara and chinyambera. I contextualize and analyse Mhande song-dance by using the ‘Matonjeni Model’, which in terms of Karanga epistemology, is culture specific. This Model is grounded in description, interpretation and analysis; the primary methods in my research process.
- Full Text:
- Date Issued: 2008
The growth, development and impact of the Grahamstown Festival of the Arts with special reference to music
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
- Full Text:
- Date Issued: 1998
- Authors: Silva, Jane Susan
- Date: 1998
- Subjects: Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2656 , http://hdl.handle.net/10962/d1002322 , Standard Bank National Arts Festival -- Grahamstown , Standard Bank National Arts Festival -- Influence , Grahamstown (South Africa) -- Art and music , Music -- South Africa -- Eastern Cape -- Grahamstown
- Description: The Grahamstown Festival has become a huge and complex annual celebration of the arts, transforming the small Eastern Cape city for ten days every year. However this event had very modest beginnings, as did music and festivals in the city of Grahamstown. From its early days Grahamstown showed strong signs of becoming an important cultural centre, presenting numerous musical concerts from 1812, the festival tradition in the city beginning in 1887. The modern arts festival, initiated in 1971, had a chequered history during the early and mid 1970's, weathering economic recession, petrol restrictions and a repressive and restrictive political atmosphere. However by 1979 the event had become established and popular enough to ensure continued success during the 1980's. The period 1980-89 was one of great growth and development for the festival regarding attendance, and the number and nature of productions presented. Music had always been an integral part of the festival, and for the first time its role in this artistic celebration is being examined. The impact of such an event is varied and far-reaching, and thus difficult to assess, but the thesis ends with an attempt to gauge the Festival's impact.
- Full Text:
- Date Issued: 1998
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
A study of Oliver Messiaen's song-cycles Poèms pour mi, Chants de terre et de ciel, and Harawi
- Authors: Donkin, Deborah Jean
- Date: 1992
- Subjects: Messiaen, Olivier, 1908-1992 Song cycles--Interpretation (Phrasing, dynamics, etc.)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2635 , http://hdl.handle.net/10962/d1002300
- Description: This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.
- Full Text:
- Date Issued: 1992
- Authors: Donkin, Deborah Jean
- Date: 1992
- Subjects: Messiaen, Olivier, 1908-1992 Song cycles--Interpretation (Phrasing, dynamics, etc.)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2635 , http://hdl.handle.net/10962/d1002300
- Description: This thesis ventures into the relatively neglected world of twentieth century vocal music, via the three song cycles of Oliver Messiaen. The song cycle is a comparatively young genre, generally dated from Beethoven's An die ferne Geliebte or by some, even later to Schubert's Die schone Miillerin. Nevertheless, considerable changes have taken place in the 160 years which separate Messiaen's cycles from those of the 'pioneers' mentioned above. A fuller appreciation of twentieth century cycles is facilitated by observing this evolutionary process and placing the works within an historical and cultural perspective. Such an introduction is provided in part one of this thesis, along with relevant details on the life and interests of Messiaen. The latter information gives insight into the compositions themselves and may satisfy the reader's curiosity on the origin of some of the more unexpected techniques or ideas Messiaen llses. Before embarking on a study of the cycles, it is necessary to look at the highly individual musical language of the composer. Section two undertakes this task in some depth, wherever possible relating the explanations directly to the songs which follow. In order to clarify the text and to simplify the exercise for the reader, numerous musical examples have been used. This contributes to the apparent bulk of this section. The main emphasis of the thesis is the detailed study of the 20 songs contained in Poemes pour Mi, Chants de Terre et de Cief and Harawi. The third section of the thesis deals with this material thoroughly and systematically, dividing it up into musical and extra-musical aspects. The texts are considered in terms of Surrealist, religious, Nature, numerological and, in the case of Harawi, mythological and Peruvian folk symbolism. The relationship of text to music is studied and evelopments highlighted. Musically, the study is further sub-divided into piano part and vocal part. In each case, an extensive exploration of the techniques required of the performer is presented. This makes possible the subsequent categorisation of the songs on the basis of similarities in the musical means. Conclusions reached show a progressive development through the three song cycles in the composer's handling of the text, his treatment of the voice, his use of the piano and his expansion of the voice-piano relationship. This body of solo vocal literature emerges as typical of Oliver Messiaen's compositional style in general and therefore properly representative of the meticulous craftsmanship with which his works are constructed. The detailed analysis of all aspects of the songs contributes original material to scholarship on Messiaen and on song cycles in the twentieth century.
- Full Text:
- Date Issued: 1992
Gaze patterns of expert and amateur sight-readers with particular focus on the cognitive underpinnings of reading key and time signatures
- Authors: Viljoen, Jacobus Frederick
- Date: 2021-10-29
- Subjects: Sight-reading (Music) , Eye tracking , Cognition , Musical notation , Tonality , Musical meter and rhythm
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/190908 , vital:45040 , 10.21504/10962/190908
- Description: Over the last decade, eye-tracking technology has provided researchers with specific tools to study the process of reading (language and music) empirically. Most of these studies have focused on the “Eye-Hand Span” phenomenon (the ability to read ahead of the point of playing). However, little research investigates the cognitive implications of specific aspects of musical notation when performed in real time. This research aimed to observe the fixations patterns of sight-readers in order to investigate the cognitive underpinnings of key and time signatures in music scores. This research project is a quantitative study using a quasi-experimental research design. Tobii eye-tracking equipment and software were used to record the eye movements of 11 expert and 7 amateur keyboard sight-readers. Two key aspects of music notation, key and time signatures, were selected as the main focus of the study. To investigate these aspects, eighteen research participants were provided with seventeen sight-reading examples for one hand (low complexity) and two hands (high complexity) composed specifically by the researcher. Several examples contained one or more unexpected aspects (accidentals or changes of time signature) to test their effect on fixation count and duration. Two variables (fixation count and fixation duration) were utilised to analyze fixation patterns on the selected aspects of the scores. Three main results emerged from the data analysis: 1) Expert sight-readers performed with much greater accuracy than experts in both tests; 2) Expert sight-readers exhibited a higher fixation count on entire scores in complex examples; 3) Both expert and amateur sight-readers fixate more and for longer on certain notational aspects such as key and time signatures than other notational aspects such as deviations or individual notes. This selection of focused attention suggests that both expert and amateur sight-readers cognitively process music scores in a hierarchical order. In conclusion, key and time signatures appear to require more and longer fixations by both groups of readers than other aspects of the score. This supports previous research which suggests that sound musical knowledge may play a positive role in performers’ sight-reading skills, thereby contributing to more successful sight-reading performances. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Viljoen, Jacobus Frederick
- Date: 2021-10-29
- Subjects: Sight-reading (Music) , Eye tracking , Cognition , Musical notation , Tonality , Musical meter and rhythm
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/190908 , vital:45040 , 10.21504/10962/190908
- Description: Over the last decade, eye-tracking technology has provided researchers with specific tools to study the process of reading (language and music) empirically. Most of these studies have focused on the “Eye-Hand Span” phenomenon (the ability to read ahead of the point of playing). However, little research investigates the cognitive implications of specific aspects of musical notation when performed in real time. This research aimed to observe the fixations patterns of sight-readers in order to investigate the cognitive underpinnings of key and time signatures in music scores. This research project is a quantitative study using a quasi-experimental research design. Tobii eye-tracking equipment and software were used to record the eye movements of 11 expert and 7 amateur keyboard sight-readers. Two key aspects of music notation, key and time signatures, were selected as the main focus of the study. To investigate these aspects, eighteen research participants were provided with seventeen sight-reading examples for one hand (low complexity) and two hands (high complexity) composed specifically by the researcher. Several examples contained one or more unexpected aspects (accidentals or changes of time signature) to test their effect on fixation count and duration. Two variables (fixation count and fixation duration) were utilised to analyze fixation patterns on the selected aspects of the scores. Three main results emerged from the data analysis: 1) Expert sight-readers performed with much greater accuracy than experts in both tests; 2) Expert sight-readers exhibited a higher fixation count on entire scores in complex examples; 3) Both expert and amateur sight-readers fixate more and for longer on certain notational aspects such as key and time signatures than other notational aspects such as deviations or individual notes. This selection of focused attention suggests that both expert and amateur sight-readers cognitively process music scores in a hierarchical order. In conclusion, key and time signatures appear to require more and longer fixations by both groups of readers than other aspects of the score. This supports previous research which suggests that sound musical knowledge may play a positive role in performers’ sight-reading skills, thereby contributing to more successful sight-reading performances. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
Georg Gruber : his contribution to music education in South Africa and an evaluation of selected vocal compositions and arrangements
- Authors: Matier, Rosemary
- Date: 1991
- Subjects: Gruber, Georg, 1904-1979 Musicians -- South Africa Music teachers -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2647 , http://hdl.handle.net/10962/d1002312
- Description: In this thesis I have given a factual account of Georg Gruber's contribution to music education in South Africa by giving a short biography and studying a) his philosophy of music education, b) the content of the music courses offered at Rhodes University during his occupancy of the Chair (1955-1972), c) the content of the music courses offered at the University of Fort Hare from 1974-1977, d) his contribution to choral education, e) his publications in the field of music education. I have given an evaluation of selected vocal compositions: a) Two masses, b) Terra Nova , c) Two African cantatas, i) Ukucula Ematola and ii) Izango ZakwaNtu , and seven arrangements of real folksongs from several different countries: a) Coventry Carol and Sweet Nightingale, b) Die Alibama, c) Merck tog hoe sterck, d) Entre Ie Boeuf et l'Ane gris, e) Aba Heidschi-bum-beidschi and f) Cheder Katan. Through the above study I have drawn conclusions regarding his compositional techniques prior to coming to South Africa as shown in the two mass compositions a nd the changes which occurred after being exposed to African music. The attention to detail in his arrangements and their sheer simplicity show his skill and craftsmanship also in this genre. Appendices of the works discussed have been submitted in a separate file and Appendix 8 lists all his available folksong arrangements.
- Full Text:
- Date Issued: 1991
- Authors: Matier, Rosemary
- Date: 1991
- Subjects: Gruber, Georg, 1904-1979 Musicians -- South Africa Music teachers -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2647 , http://hdl.handle.net/10962/d1002312
- Description: In this thesis I have given a factual account of Georg Gruber's contribution to music education in South Africa by giving a short biography and studying a) his philosophy of music education, b) the content of the music courses offered at Rhodes University during his occupancy of the Chair (1955-1972), c) the content of the music courses offered at the University of Fort Hare from 1974-1977, d) his contribution to choral education, e) his publications in the field of music education. I have given an evaluation of selected vocal compositions: a) Two masses, b) Terra Nova , c) Two African cantatas, i) Ukucula Ematola and ii) Izango ZakwaNtu , and seven arrangements of real folksongs from several different countries: a) Coventry Carol and Sweet Nightingale, b) Die Alibama, c) Merck tog hoe sterck, d) Entre Ie Boeuf et l'Ane gris, e) Aba Heidschi-bum-beidschi and f) Cheder Katan. Through the above study I have drawn conclusions regarding his compositional techniques prior to coming to South Africa as shown in the two mass compositions a nd the changes which occurred after being exposed to African music. The attention to detail in his arrangements and their sheer simplicity show his skill and craftsmanship also in this genre. Appendices of the works discussed have been submitted in a separate file and Appendix 8 lists all his available folksong arrangements.
- Full Text:
- Date Issued: 1991
The prominence of choral music in the search for, and preservation of, an African identity: A study focusing on the role of choral composers in the formation of black nationalism during and after the colonial era in South Africa
- Authors: Nelani, Athenkosi
- Date: 2021-10-29
- Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190965 , vital:45045
- Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Nelani, Athenkosi
- Date: 2021-10-29
- Subjects: Choral music South Africa , Choral singing South Africa , Black people Race identity South Africa , Black nationalism South Africa , Composers, Black South Africa , Amakwaya
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/190965 , vital:45045
- Description: In South Africa, choral music has been prominent in schools, churches, and community choirs since the 19th century. However, the majority of South Africans know little of the history of indigenous choral music. This study investigates the origins of South African indigenous choral music, its canonic figures, and their contribution to this genre in promoting an African identity among the indigenous people of South Africa. Using the methodological lens of historical ethnomusicology, this thesis explores the genesis of choral music in South Africa. Choral music was introduced to the region when it was first colonised by the Dutch East India Company in 1652. Missionaries established institutions in the villages of the local people and translated the Bible and hymn books into the local languages. These actions had lasting consequences for music, and choral singing was greatly advanced. In addition, in this work early composers of South African indigenous choral music are recognised in an effort to establish a choral canon. Three definitive choral periods are recognised, namely those of the first-generation, second-generation, and post-colonial composers. Using this historical framework, this thesis investigates the social and political influence these composers had on African identity during the liberation struggles in the late colonial era and during the early apartheid period. The history and compositions of the composers are discussed, including how they used their compositions as political tools and as mouthpieces to communicate societal issues of concern to the indigenous people during and after the colonial era. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
Religious musical performance as an articulation of transformation : a study of how the Tsonga Presbyterians of the Presbyterian Church of Mozambique negotiate their indigenous Tsonga and Swiss reformed church heritages
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
- Authors: Germiquet, Nicole Madeleine
- Date: 2015
- Subjects: Igreja Presbiteriana de Moçambique , Sacred music -- Mozambique , Church music -- Mozambique , Church music -- Presbyterian , Tsonga (African people) -- Mozambique -- Music , Ethnomusicology , Church music -- Cross-cultural studies
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2699 , http://hdl.handle.net/10962/d1020836
- Description: The Presbyterian Church of Mozambique (IPM) has its origins in the Swiss Mission and the European Reformed Church. An ethnomusicological study was conducted on the music of the IPM in order to uncover its musical influences. The musical influences were found to pertain to an indigenous Tsonga musical character, as well as to a Reformed Church musical tradition. By situating the discussion in this thesis within the perspective that music may reflect that which is not explicitly spoken about in words, the music of the IPM was shown to reflect the dual-heritage of the members of the IPM. Thus, this thesis attempts to answer the questions: how is the music of the IPM a reflection of the Tsonga Presbyterians’ dual-heritage?; and how do the Tsonga Presbyterians negotiate their dual-heritage? It was found that the Tsonga Presbyterians negotiate their dual-heritage by blending a Reformed Church performance style with a Tsonga one. For example, the music in the form of hymns and church songs, performed by church choirs, is shown to be didactic in nature where the lyrics are the most important aspect of the music. The didactic nature of the music is a principle of the Reformation carried forth in the music of the IPM. Although music serves to transmit the Christian message and is used as a means of praising the Christian God in the IPM, it also exists on the level in which the indigenous Tsonga heritage may be incorporated into the Christian lives of the members of the IPM without having an impact on the Reformed Church belief system. This is where the members have the freedom to blend their musical heritages. Music, in this instance, is shown to be a powerful tool by which the importance of an indigenous, and an appropriated, heritage may be garnered and observed.Looking to the historical aspects of the IPM, the music and language literacy education, provided by Swiss missionaries on the mission stations, was shown to have had an influence on Tsonga hymn composition. Along with the mobile phone, the observed decrease in music literacy at Antioka was situated within a discussion that looked at the influence of these aspects on the transmission, conservation and continuation of music in the IPM. Throughout the thesis, social transformation is referred to and the manner in which the music of the IPM is conserved or continued is an indication of how musical transformation may reflect social transformation.
- Full Text:
- Date Issued: 2015
Composition Portfolio
- Authors: Hanmer, Paul Dylan
- Date: 2022-10-14
- Subjects: Composition (Music) , String quartets Scores , Symphonies Scores , Music South Africa
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/327283 , vital:61100 , DOI 10.21504/10962/327283
- Description: Extract from Introduction: “In the cover bands I worked with, I used to do what all my colleagues in these bands were doing to learn and remember repertoire; transcribe “by ear” and then rehearse with the whole band. Later, when I joined “909” [a cover band named after the “909” model of drum-box developed and built by the Japanese company, Roland] I learned to extend that skill by notating my transcriptions and then playing from these self-made keyboard parts. All the instrumentalists in that band likewise played from their own notated transcriptions and, from that time onward it became rarer for me to do any kind of performance work without a set of self-made parts to read from or refer to. I had thus reverted to performing from musical notation. Even later, when I became involved almost exclusively in improvisational music performance, I never quite abandoned the notion of having notated keyboard or piano parts to hand, as a reference or guide. Since about 1990, I have led a life that has increasingly left pop music behind and instead embraced working with improvising musicians; those who wish to explore South African folk idioms in their compositional and performance output, as well as others who have a deep love of jazz music. At the same time, I have re-entered the realm of classical music and music-making; often through writing arrangements of my own music, which would incorporate classically trained players, as well as in response to commissions to compose [for particular musicians or groups of musicians] fully notated pieces of music – such as the works in this PhD portfolio. Yet, there are many circumstantial factors that feed into my composing, and exert an influence on my creativity. A major step in this particular direction came during 2002 when composer, Michael Blake, asked me to contribute to The Bow Project. This commission brought me into close contact with the [then intact and very active] Sontonga Quartet. Several further requests for, and commissions of, new works followed on from there. Two such works constitute the major portion of the portfolio to which these reflexive commentaries refer.” , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
- Authors: Hanmer, Paul Dylan
- Date: 2022-10-14
- Subjects: Composition (Music) , String quartets Scores , Symphonies Scores , Music South Africa
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/327283 , vital:61100 , DOI 10.21504/10962/327283
- Description: Extract from Introduction: “In the cover bands I worked with, I used to do what all my colleagues in these bands were doing to learn and remember repertoire; transcribe “by ear” and then rehearse with the whole band. Later, when I joined “909” [a cover band named after the “909” model of drum-box developed and built by the Japanese company, Roland] I learned to extend that skill by notating my transcriptions and then playing from these self-made keyboard parts. All the instrumentalists in that band likewise played from their own notated transcriptions and, from that time onward it became rarer for me to do any kind of performance work without a set of self-made parts to read from or refer to. I had thus reverted to performing from musical notation. Even later, when I became involved almost exclusively in improvisational music performance, I never quite abandoned the notion of having notated keyboard or piano parts to hand, as a reference or guide. Since about 1990, I have led a life that has increasingly left pop music behind and instead embraced working with improvising musicians; those who wish to explore South African folk idioms in their compositional and performance output, as well as others who have a deep love of jazz music. At the same time, I have re-entered the realm of classical music and music-making; often through writing arrangements of my own music, which would incorporate classically trained players, as well as in response to commissions to compose [for particular musicians or groups of musicians] fully notated pieces of music – such as the works in this PhD portfolio. Yet, there are many circumstantial factors that feed into my composing, and exert an influence on my creativity. A major step in this particular direction came during 2002 when composer, Michael Blake, asked me to contribute to The Bow Project. This commission brought me into close contact with the [then intact and very active] Sontonga Quartet. Several further requests for, and commissions of, new works followed on from there. Two such works constitute the major portion of the portfolio to which these reflexive commentaries refer.” , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2022
- Full Text:
- Date Issued: 2022-10-14
A portfolio of original compositions exploring syncretism between Indian and western music
- Authors: Ram, Deepak
- Date: 1996
- Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
- Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
- Full Text:
- Date Issued: 1996
- Authors: Ram, Deepak
- Date: 1996
- Subjects: Raga Music -- India -- History and criticism Music -- History and criticism Jazz -- History and criticism
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2654 , http://hdl.handle.net/10962/d1002320
- Description: In this dissertation, overviews and detailed examinations of three compositions are presented. These compositions which constitute the portfolio of the M.MUS degree, are an attempt to explore syncretism between Indian and western music. Two of these works are written for a flute quartet (flute, violin, viola and cello) accompanied in part by a mridangam (Indian percussion instrument). The third work is written for a jazz quartet (piano, saxophone, double bass and drums). Syncretism between western and Indian music can take on a variety of forms, and while this concept is not new, there exists no suitable model or framework through which these compositions can be analysed. The approach used In this dissertation IS therefore guided solely by the compositions themselves. The syncretism in these works lies in the use of melodic, rhythmic and timbral elements of Indian music within two ensembles which are essentially western. This dissertation describes each of these elements in their traditional context as well as the method of incorporating them into western ensemble playing.
- Full Text:
- Date Issued: 1996