Composition Portfolio
- Authors: Appollis, Sylvester
- Date: 201u
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193476 , vital:45335
- Description: Composition portfolio. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 201u
- Full Text:
- Date Issued: 201u
- Authors: Appollis, Sylvester
- Date: 201u
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193476 , vital:45335
- Description: Composition portfolio. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 201u
- Full Text:
- Date Issued: 201u
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
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
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
The jazz divas an analysis of the musical careers of six New Brighton vocalists
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
- Authors: Butete, Netsayi
- Date: 2012
- Subjects: Jazz musicians -- Research -- South Africa -- Port Elizabeth Ethnomusicology -- Research -- South Africa Sex discrimination against women -- South Africa Sex discrimination in employment -- South Africa Apartheid -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2633 , http://hdl.handle.net/10962/d1002298
- Description: There has been insufficient academic research on the music of the Eastern Cape in general and Port Elizabeth and New Brighton in particular. This study, as part of the International Library of African Music (ILAM)lRed Location Museum Music History Project (ILAMIRLMHP) - an oral history intervention to save the music history of New Brighton from extinction through research and documentation of the memories of veteran musicians - is focused on jazz vocalists. The primary objective of my study is to investigate, critically analyze, interpret and document the career experiences of six New Brighton jazz vocalists in the context of performing in the Port Elizabeth music industry during the apartheid and the post-apartheid eras. The secondary objectives are to stimulate research interests in music students and ethnomusicologists to pursue research on the music of Port Elizabeth and the Eastern Cape and to inspire and motivate the vocalists to continue making music with renewed zeal. A qualitative research paradigm informed the field research necessary for this study. The fieldwork paved the way for an eclectic framework of analysis grounded in Pierre Bourdieu's notions of habitus, field and capital, examining the impact of the context on the vocalists' habitus which influenced how they viewed and interpreted their past and current experiences in the performance field. Data obtained through extensive interviewing of New Brighton's contemporary female vocalists and their male counterparts revealed that they have no opportunity to make commercial recordings. The musicians have to migrate to Johannesburg to have successful music careers, although personality politics, greed and lack of professionalism also work against the musicians' success. The data shows that New Brighton musicians, both male and female, do not have enough performance opportunities and there are fewer chances to tour now than there were from the 1960s through the 1980s. As in the apartheid era, female vocalists are still discriminated against in terms of pay, and men discriminate in how they pay other male musicians. Analysis of the vocalists' jazz compositions revealed that their song lyrics depict a bona fide urban African culture and reflect the emotional needs of the society in which they live.
- Full Text:
- Date Issued: 2012
Composition portfolio
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
- Authors: Cooper, Corinne Jane
- Date: 2019
- Subjects: Xhosa (African people) -- Music , Musical bow -- South Africa -- Eastern Cape , Sound recordings in ethnomusicology -- South Africa , Dywili, Nofinishi. The bow project , Music -- South Africa -- Eastern Cape
- Language: English
- Type: text , Thesis , Masters , MMus
- Identifier: http://hdl.handle.net/10962/168338 , vital:41568
- Description: In June 2014, I was introduced to Christine Dixie by a film maker I had worked with on a previous project. Christine was looking for a composer who could arrange a soundtrack around musical themes that she had commissioned from Jared Lang to accompany her video installation To Be King (Dixie 2014. Jared composed five different melodies that I wove into a palette of sounds that comprised the soundtrack. To Be King was exhibited at the National Arts Festival in 2014 as part of the Main Festival. It moved to Cape Town in 2015 and 2017, to Venice and London in 2017, and to Lithuania in 2018. In 2017, Christine approached me to compose a soundtrack for a different work, based again on seventeenth century Spanish artist, Velázquez’ painting ‘Las Meninas’ (1656), but this time, using a series of sculptures representing the different figures in the painting, a reinterpretation with strong Eastern Cape (South Africa) themes and associations. Christine proposed reimagining the figures in the painting by clothing them in Shweshwe 1 material and placing African masks on each of them, masks that she had sought out during her travels around Africa. The use of Shweshwe material, ties the figures very closely to the Eastern Cape, and in particular, close to where I grew up in Alice, just 60 kilometres away from where it is manufactured in King William’s Town. Alice is important in the unfolding of this portfolio as Ntsikana, purportedly the first Xhosa person to be converted to Christianity and a prophet, lived in Peddie (which is about 70 kilometers from Grahamstown and Rhodes University) and Gqora, near the Kat River District which is located in the Amathola District near Alice. (Kumalo 2015, p.26). Alice is steeped in history, and is the town where Lovedale Mission Station was founded in 1824 and later, the Lovedale Press in 1861. Therefore, this project felt close to my roots, hence this interaction between Western and African cultures is very relevant to my world view and has impacted on my scoring of this music. I was initially challenged by the idea that the project would require a deeper understanding of traditional Xhosa music and while I had been exposed to Xhosa culture while growing up in Alice, my formative years were largely shaped by the culture of my Christian parents who immigrated to South Africa from England during the 1960s. During the first decade of the twentieth century, in my capacity as a sound engineer, I was tasked with recording and mastering a double CD called The Bow Project. Various South African composers were invited to transcribe and paraphrase or reimagine traditional Xhosa bow music for the classical string quartet. The uhadi songs 2 of Nofinishi Dywili formed the basis for many of these intercultural explorations, and I recorded and mastered the string quartets as well as 12 individual recordings of Dywili’s music. I spent many hours listening to Dywili’s recordings while I mastered them, but though I was very familiar with how they sounded, I realised, as I started compiling this portfolio, that I was not familiar with their notation and rhythmic structures. I approach sound engineering with a very different ear and sonic perspective to that of a composer. To learn more about uhadi bow music I visited the International Library of African Music (ILAM) which is housed by Rhodes University in Grahamstown, Eastern Cape. Here I consulted with sound engineer and African music specialist, Elijah Madiba, on Xhosa instruments and traditional music-making. With Madiba’s assistance I listened carefully to different bow performances and examined a variety of instruments. After this introduction I loaned a selection of recordings from the ILAM collection and listened to them as carefully as I could. Every time I listened, I seemed to hear something different, both melodically and rhythmically. To gain a deeper understanding of how this music was created I decided to transcribe some of the songs. Following a steep learning curve I completed transcriptions of two songs with my transcriptions including a wealth of vocal parts. As my ears grew accustomed to the sound world I heard additional counter melodies. Notating the rhythms using staff notation was challenging, as this music is created according to a different format, but I am familiar with staff notation and if I was going to use this material while composing then I needed to remain with that which was familiar. I finally settled on notating with shifting time signatures and the first song is scored in bars of 3/4, 4/4, and 2/4 while the other song uses 3/4, 2/4. It was a very worthwhile exercise and after completion I humbly set about composing the eleven pieces that would musically express Dixie’s new work: Worlding the White Spirit Maiden (2019).
- Full Text:
- Date Issued: 2019
The vocal works of Olivier Messiaen
- Authors: Donkin, Deborah Jean
- Date: 1995
- Subjects: Messiaen, Olivier, 1908-1992 Vocal music -- Research
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2634 , http://hdl.handle.net/10962/d1002299
- Description: Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.
- Full Text:
- Date Issued: 1995
- Authors: Donkin, Deborah Jean
- Date: 1995
- Subjects: Messiaen, Olivier, 1908-1992 Vocal music -- Research
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2634 , http://hdl.handle.net/10962/d1002299
- Description: Olivier Messiaen's compositions for voice, though less widely known than his instrumental works, span some forty years and comprise a fifth of his total output. They have hitherto not been subject to much attention. A study of the elements comprising the vocal lines and accompanying instrumentation from the piano-voice song set, Trois melodies (1930), to the vast orchestral-choral La Transfiguration de Notre Seigneur Jesus-Chlist (1969) reveals, amongst other characteristic and evolving features, the emergence of a unique, simulated, plainchant style and its subsequent transformation into incantation with suitably modified accompaniment. While wide-ranging, chromatic and rhythmically free vocal lines are typical of many twentieth century compositions, Messiaen's use of such features is found to be novel, by virtue of the peculiar modal and temporal ambits within which he operated. Vocal delivery is progressively expanded from conventional bel canto production to humming, howling,and eventually speech and percussive sounds and reaches an apotheosis in the virtuoso effects of Cinq Rechants (1949). This recedes somewhat in La Transfiguration, which displays instead a wealth of hybrid plainsong-type writing. Choral works are interesting in that the emphasis shifts from standard part-writing to monody or accompanied unison singing, with an attendant absence of characterised solo parts. By constantly varying the colour of the single melodic line with different permutations of voice types, timbre assumes a new importance, particularly in La Transfiguration. The study of the texts, most of which were conceived by the composer simultaneously with the music, contributes much to the understanding of each work. Biblical symbolism in the early lyrics is progressively enriched by references to numerological, mythological and nature symbolism, mixed in an increasingly Surrealistic manner. The gradual incorporation of emotive phonemes in the texts, culminates in the invented language of Cinq Rechants. The thesis thus reveals an evolving yet persistently idiosyncratic vocal style, which establishes Messiaen as one of the most original composers of his time. It further demonstrates that his vocal works are an important component of his total oeuvre and also a significant contribution to twentieth century vocal literature.
- Full Text:
- Date Issued: 1995
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
Analysing from experience : Gustav Mahler’s Quartetsatz for piano and strings
- Authors: Du Plessis, Jacques
- Date: 2015
- Subjects: Mahler, Gustav, 1860-1911. -- Quartet, piano, violin, viola, cello, A minor , Musical analysis , Music appreciation , Phenomenology and music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2696 , http://hdl.handle.net/10962/d1017818
- Description: Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
- Full Text:
- Date Issued: 2015
- Authors: Du Plessis, Jacques
- Date: 2015
- Subjects: Mahler, Gustav, 1860-1911. -- Quartet, piano, violin, viola, cello, A minor , Musical analysis , Music appreciation , Phenomenology and music
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2696 , http://hdl.handle.net/10962/d1017818
- Description: Musical analysis has traditionally been located within the context of musicology. It is therefore an activity usually considered the purview of music scholars rather than practical musicians. The musical analyses produced by music scholars therefore provide us with intellectual understandings of musical works, rather than insights into the experience of listening to or playing music. In this thesis, I will propose that those agents involved in practical music-making can produce insights into musical works that are as valid as the work of traditional music scholarship. I will attempt to re-conceptualize the position of the ‘knower’ or ‘experiencer’ - the performer - of music as one with primary access to knowledge of a musical work, and therefore ideally suited to offer analyses of these works. The establishment of the performer as a bearer of central analytical knowledge functions in direct opposition to the traditional distinction between ‘theory’ and ‘practice’. My thesis will trace the Platonic origins of the philosophical separation of practice and research, and as an alternative to the traditional separation of practice and research, I shall explore the concept of Practice-Based Research (PBR). My exploration of PBR will be informed by phenomenological approaches to music scholarship. As a field of enquiry which concerns itself with experience, the phenomenology of music suggests that the mind and body of the practitioner are important sources of musical insight. To address this issue, Bourdieu’s notion of habitus will be explored. The habitus will be shown to contain a vast network of socio-cultural codes informing the practitioner’s relationship with the musical work. A central aim of this thesis is to explore the possibilities of using practice-based research as the foundation for the study and analysis of a composition, in order to allow for a deeper understanding of the work by means of the generation and harnessing of practical knowledge. Thus, the theoretical outline of PBR provided in this thesis will be applied to a piece of practical performance-based analysis. As such, an analysis of Mahler’s Quartetsatz will be used as the basis on which to draw knowledge in this project.
- Full Text:
- Date Issued: 2015
The role of the cadence as determining factor of phrasing of the organ toccatas, preludes and fantasias of Johann Sebastian Bach
- Authors: Du Plooy, Jacobus Stephanus
- Date: 1996
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2636 , http://hdl.handle.net/10962/d1002301
- Description: This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.
- Full Text:
- Date Issued: 1996
- Authors: Du Plooy, Jacobus Stephanus
- Date: 1996
- Subjects: Bach, Johann Sebastian, 1685-1750 -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2636 , http://hdl.handle.net/10962/d1002301
- Description: This study examines the phrasing of J.S. Bach's preludes, toccatas and fantasias for organ. Consequent upon Bach's silence on the subject and the inadequacy of available sources, the cadence has been used as a means to determine the phrasing of these works. The goal of this thesis is to identify those characteristics of the cadence that can assist the performer in two ways: On the one hand, to select the appropriate type of break between phrases, and, the other hand, selecting the appropriate changes in tempo and articulation essential to the shaping of phrases. The term, 'cadence', therefore, applies not merely to an isolated entity of two chords, but rather to a broader formula including the progressions towards and away from it. This investigation follows an eclectic approach. Accordingly, the exploration of various sources is combined with diverse methods of analyses. The first method is a detailed structural analysis of Bach's cadential progressions, and more specifically, the way in which he integrated the basic musical elements into them. This shows the points of tension and relaxation, two musico-psychological effects fundamental to any decision regarding phrasing. The second method puts Bach's cadences within the context of the larger musical structure, including the 'extra-musical' (i.e. grammatical, rhetorical and 'affective') forms. This method organises cadences according to their various punctuation functions, hence main and secondary cadences. The cadences of twenty-eight works - those works of which the authenticity is more or less secure - are analysed. Descriptions cover a selection from these works considered to be the most representative. A significant number of examples, induding performing suggestions, accompany and elaborate in detail on all descriptions of cadences. An application of the findings is presented by an analysis and di scussion that elaborates in detail on the suggested performance of two works, BWV 542 and 541. These two works epitomize, and simultaneously form the culmination of the two principal styles (i.e. the improvisatory and motorically-orientated) prevalent in Bach's free organ works. Examination of the findings of this study and implications for further research conclude this thesis.
- Full Text:
- Date Issued: 1996
An exploration of James Dreier’s Standard Tune Learning Sequence in a self-directed learning environment : an interpretative phenomenological analysis
- Authors: Ellis, Stephen James
- Date: 2014
- Subjects: Dreier, James Drum -- Performance -- Studies and exercises Drum -- Methods -- Self-instruction Drum -- Instruction and study Drummers (Musicians)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2680 , http://hdl.handle.net/10962/d1011312
- Description: This qualitative case study was undertaken in order to explore the experiences of drum set students who apply themselves to James Dreier’s Standard Tune Learning Sequence (STLS) in a self-directed learning environment. These experiences ultimately shed light on how best to implement Differentiated Instruction to the STLS. The study draws on the experience of three adult drum students under the instruction of the author. The students were provided with the STLS and left to proceed with it on their own. They were asked to keep a record of their progress in the form of a learning journal. These learning journals were used, in conjunction with transcribed interviews and learner profiles, as data for this study and as such were subjected to Interpretative Phenomenological Analysis. The study recognizes three factors which affect the student’s successful progression through the STLS: readiness, interest and meaning. Each factor is discussed in relation to literature on differentiated Instruction. Recommendations are made regarding the implementation of Differentiated Instruction to the STLS.
- Full Text:
- Date Issued: 2014
- Authors: Ellis, Stephen James
- Date: 2014
- Subjects: Dreier, James Drum -- Performance -- Studies and exercises Drum -- Methods -- Self-instruction Drum -- Instruction and study Drummers (Musicians)
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2680 , http://hdl.handle.net/10962/d1011312
- Description: This qualitative case study was undertaken in order to explore the experiences of drum set students who apply themselves to James Dreier’s Standard Tune Learning Sequence (STLS) in a self-directed learning environment. These experiences ultimately shed light on how best to implement Differentiated Instruction to the STLS. The study draws on the experience of three adult drum students under the instruction of the author. The students were provided with the STLS and left to proceed with it on their own. They were asked to keep a record of their progress in the form of a learning journal. These learning journals were used, in conjunction with transcribed interviews and learner profiles, as data for this study and as such were subjected to Interpretative Phenomenological Analysis. The study recognizes three factors which affect the student’s successful progression through the STLS: readiness, interest and meaning. Each factor is discussed in relation to literature on differentiated Instruction. Recommendations are made regarding the implementation of Differentiated Instruction to the STLS.
- Full Text:
- Date Issued: 2014
The Effects of Monaural Beat Technology on Learners' Experiences of Music Performance Anxiety (MPA)
- Authors: Flanagan, Jayson Edward
- Date: 2021-10-29
- Subjects: Performance anxiety Alternative treatment , School music South Africa Makhanda , Music students South Africa Makhanda Examinations , Beats (Acoustics) Psychological aspects , Monaural Beat Technology
- Language: English
- Type: Masters theses , text
- Identifier: http://hdl.handle.net/10962/188419 , vital:44752
- Description: Music performance anxiety (MPA) is related to the experience of persisting, distressful, apprehensions about and/or actual impairment of performance skills in a public context, to a degree unwarranted given the individual’s musical aptitude, training and level of preparation (Salmon 1990). This research project set out to investigate learners’ subjective experiences of the effects of monaural beat (MB) vibrational frequencies on their experiences of MPA. The research project was a qualitative study based on a phenomenological research paradigm, which fundamentally aims to explore an experience in its own terms (Smith et al. 2009). The research participants consisted of four subject music pupils at St Andrew’s College and The Diocesan School for Girls and were interviewed through in-depth, semi-structured interviews over two practical examinations. The results suggested that various factors contribute to the experience of music performance anxiety, such as the performers’ perceptions of audience reactions, as well as the context of the performance. Self-esteem and the performer’s fragile sense of self-worth and self-confidence also play an important role in influencing their music performance anxiety. However, listening to monaural beats during a performance has the ability to lower levels of music performance anxiety by eliciting the following effects: an improved sense of confidence within the listeners; a sense of calm; the monaural beats working on a passive awareness level that allows the beat to operate at a sub-conscious level; the ability to focus better on the task at hand as well as benefit the listener in non-musical contexts such as studying; general concentration or ordinary tasks such as gardening or going for a run. The research suggests that listening to monaural beats during a musical performance can benefit the performer by lowering levels of MPA. As a result, the performer will experience an improved sense of confidence, calmness and the ability to focus better on the task at hand. Monaural beats have also shown to be a useful method of dealing with MPA instead of resorting to pharmaceutical drugs or other methods of coping such as playing games for distraction. , Thesis (MMus) -- Faculty of Humanities, Music and Musicology, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Flanagan, Jayson Edward
- Date: 2021-10-29
- Subjects: Performance anxiety Alternative treatment , School music South Africa Makhanda , Music students South Africa Makhanda Examinations , Beats (Acoustics) Psychological aspects , Monaural Beat Technology
- Language: English
- Type: Masters theses , text
- Identifier: http://hdl.handle.net/10962/188419 , vital:44752
- Description: Music performance anxiety (MPA) is related to the experience of persisting, distressful, apprehensions about and/or actual impairment of performance skills in a public context, to a degree unwarranted given the individual’s musical aptitude, training and level of preparation (Salmon 1990). This research project set out to investigate learners’ subjective experiences of the effects of monaural beat (MB) vibrational frequencies on their experiences of MPA. The research project was a qualitative study based on a phenomenological research paradigm, which fundamentally aims to explore an experience in its own terms (Smith et al. 2009). The research participants consisted of four subject music pupils at St Andrew’s College and The Diocesan School for Girls and were interviewed through in-depth, semi-structured interviews over two practical examinations. The results suggested that various factors contribute to the experience of music performance anxiety, such as the performers’ perceptions of audience reactions, as well as the context of the performance. Self-esteem and the performer’s fragile sense of self-worth and self-confidence also play an important role in influencing their music performance anxiety. However, listening to monaural beats during a performance has the ability to lower levels of music performance anxiety by eliciting the following effects: an improved sense of confidence within the listeners; a sense of calm; the monaural beats working on a passive awareness level that allows the beat to operate at a sub-conscious level; the ability to focus better on the task at hand as well as benefit the listener in non-musical contexts such as studying; general concentration or ordinary tasks such as gardening or going for a run. The research suggests that listening to monaural beats during a musical performance can benefit the performer by lowering levels of MPA. As a result, the performer will experience an improved sense of confidence, calmness and the ability to focus better on the task at hand. Monaural beats have also shown to be a useful method of dealing with MPA instead of resorting to pharmaceutical drugs or other methods of coping such as playing games for distraction. , 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
Haul Music : transnationalism and musical performance in the Saharaui refugee camps of Tindouf, Algeria
- Authors: Gimenez Amoros, Luis
- Date: 2012
- Subjects: Bedouins -- Music -- Research Sahrawi (African people) -- Migrations Social change -- Arab countries Arab countries -- Social life and customs Civilization, Arab
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2637 , http://hdl.handle.net/10962/d1002302
- Description: The thesis presents ethnographic data and musical analysis (in the form of transcriptions) of Haul music which is the music style performed by Bedouin societies in Trab el Bidan region (Mauritania, Western Sahara, northern Mali, southern Algeria and northern Morocco). It is based on field research undertaken in Algeria in 2004-05 in the refugee camps of Tindouf, Algeria, where Saharaui people (a Bedouin society)live in exile. This research is unique and original as Haul has not, until now, been explored in depth by any scholar. My research on Haul reveals that the changes in Saharaui music in the refugee camps of Tindouf reflect changes in the musical traditions of Bedouin societies as whole; changes that can be traced to the revolution which occurred in Western Sahara in 1975, and changes that are a result of the migrations and life in exile that followed. I argue that these changes occurred due to the transnational experiences undergone by Saharaui people in their forced exile (caused by the Moroccan state) from their homeland in Western Sahara to Algeria. Further, I assert that the invocation of memory in Bedouin musical styles is evidence of past musical practices being retained in contemporary Haul performance, although other musical changes are similarly in progress.
- Full Text:
- Date Issued: 2012
- Authors: Gimenez Amoros, Luis
- Date: 2012
- Subjects: Bedouins -- Music -- Research Sahrawi (African people) -- Migrations Social change -- Arab countries Arab countries -- Social life and customs Civilization, Arab
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2637 , http://hdl.handle.net/10962/d1002302
- Description: The thesis presents ethnographic data and musical analysis (in the form of transcriptions) of Haul music which is the music style performed by Bedouin societies in Trab el Bidan region (Mauritania, Western Sahara, northern Mali, southern Algeria and northern Morocco). It is based on field research undertaken in Algeria in 2004-05 in the refugee camps of Tindouf, Algeria, where Saharaui people (a Bedouin society)live in exile. This research is unique and original as Haul has not, until now, been explored in depth by any scholar. My research on Haul reveals that the changes in Saharaui music in the refugee camps of Tindouf reflect changes in the musical traditions of Bedouin societies as whole; changes that can be traced to the revolution which occurred in Western Sahara in 1975, and changes that are a result of the migrations and life in exile that followed. I argue that these changes occurred due to the transnational experiences undergone by Saharaui people in their forced exile (caused by the Moroccan state) from their homeland in Western Sahara to Algeria. Further, I assert that the invocation of memory in Bedouin musical styles is evidence of past musical practices being retained in contemporary Haul performance, although other musical changes are similarly in progress.
- Full Text:
- Date Issued: 2012
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
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
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
- 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
The life and work of Benjamin Tyamzashe: a contemporary Xhosa composer
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Tyamzashe, Benjamin, 1890 -- Criticism and interpretation Xhosa (African people) -- Music Hymns, Xhosa Composers, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2639 , http://hdl.handle.net/10962/d1002304
- Description: In this study I have tried to show what Tyamzashe has achieved without the solid musical training any composer worthy of the name should undergo. I have also tried to show the forming of his own musical style under the impact of outside influences. This study is therefore not to teach one anything new, but simply to communicate the results of three years research. In it I have attempted to set the scene in which Tyamzashe's life unfolded itself under the influences of people and circumstances. In doing so I have tried to bear in mind the main theme - Tyamzashe himself. My problem was not so much what to include but what to leave out; thus I have not provided the scene with a detailed background. The section on missionary contact is necessary for an understanding of the great changes brought about by culture contact, as well as for putting Tyamzashe into his historical background. I have also stressed Lovedale because musical change as exemplified in the music of early Bantu converts was centralized there. Finally, the thesis of this study is: despite the changes introduced into Bantu music by culture contact, one perceives, in the works of Tyamzashe, the beginnings of a new pattern of integration. p. 2-3.
- Full Text:
- Date Issued: 1968
- Authors: Hansen, Deirdre Doris
- Date: 1968
- Subjects: Tyamzashe, Benjamin, 1890 -- Criticism and interpretation Xhosa (African people) -- Music Hymns, Xhosa Composers, Black -- South Africa
- Language: English
- Type: Thesis , Masters , MMus
- Identifier: vital:2639 , http://hdl.handle.net/10962/d1002304
- Description: In this study I have tried to show what Tyamzashe has achieved without the solid musical training any composer worthy of the name should undergo. I have also tried to show the forming of his own musical style under the impact of outside influences. This study is therefore not to teach one anything new, but simply to communicate the results of three years research. In it I have attempted to set the scene in which Tyamzashe's life unfolded itself under the influences of people and circumstances. In doing so I have tried to bear in mind the main theme - Tyamzashe himself. My problem was not so much what to include but what to leave out; thus I have not provided the scene with a detailed background. The section on missionary contact is necessary for an understanding of the great changes brought about by culture contact, as well as for putting Tyamzashe into his historical background. I have also stressed Lovedale because musical change as exemplified in the music of early Bantu converts was centralized there. Finally, the thesis of this study is: despite the changes introduced into Bantu music by culture contact, one perceives, in the works of Tyamzashe, the beginnings of a new pattern of integration. p. 2-3.
- Full Text:
- Date Issued: 1968
'n Interdissiplinêre benadering tot die klasmusiekonderwys in Suid-Afrika
- Authors: Hendrikse, Salóme
- Date: 1993
- Subjects: School music -- Instruction and study -- South Africa Music -- Instruction and study -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2640 , http://hdl.handle.net/10962/d1002305
- Description: In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
- Full Text:
- Date Issued: 1993
- Authors: Hendrikse, Salóme
- Date: 1993
- Subjects: School music -- Instruction and study -- South Africa Music -- Instruction and study -- South Africa
- Language: English
- Type: Thesis , Doctoral , PhD
- Identifier: vital:2640 , http://hdl.handle.net/10962/d1002305
- Description: In hierdie tesis word 'n nuwe benadering tot klasmusiekonderwys in die R.S.A. bespreek. Die navorsing vervat in die tesis is vanaf 1984 tot 1992 gedoen. In 'n sekere sin verklaar die aanvangsdatum van die navorsing die feit dat die projek veral gerig is op die blanke onderwyssituasie aangesien die verskillende groepe se onderwysbelange volgens amptelike beleid grotendeels deur verskillende onderwysowerhede behartig is. Die blanke onderwysgerigtheid van die navorsingsontwerp ten spyt, is die uitgangspunte en die bevindings van die studie, veral ten opsigte van die rol en funksie van musiekopvoeding, sonder twyfel van toepassing op al die Suid-Afrikaanse gemeenskappe. In die opsig behoort die bevindings van die studie dus tot 'n groot mate ook die eise van musiekopvoeding veral vir 'n toekomsgerigte onderwys te kan ondervang juis omdat die vertrekpunt van die voorgestelde vemuwings en aanpassings in die musiekopvoeding die waardes en norme van gemeenskappe moet identiflseer en vertolk en terselfdertyd die beperkende effek daarvan moet teenwerk deur kulturele transenderings. Veral laasgenoemde is van groot belang in die multikulturele opset van die Suid-Afrikaanse gemeenskap waarin die musiekopvoeding juis 'n belangrike rol kan speel in die ontwikkeling van 'n onderlinge begrip en waardering tussen die verskillende kultuurgemeenskappe. In Afdeling A van die tesis word die huidige stand van klasmusiek bespreek en daar word op gewys dat, afgesien van 'n aantal sekondere faktore, die prirnere redes vir die nie-geslaagdheid van die vak, faktore soos die sillabusse, die opleiding van die onderwyser en die posisie van die vak in die kurrikulum is. Teenoor die huidige benadering van klasmusiek met al sy probleme word 'n ander benadering tot die onderwys in die a!gemeen en die klasmusiek in die besonder gestel, naamlik die interdissiplinere benadering met sy twee afdelings, naamlik die geesteswetenskappe en die kunstebenadering. Hierdie benaderings word bespreek soos wat dit in die V.SA. en Europa toegepas word, en daarna word 'n aangepaste benadering vir die R.S.A. ontwikkel ten opsigte van doelstellings,uitgangspunte, riglyne, metodiek en tegniek. In Afdeling B volg die empiriese navorsing wat ten opsigte van die interdissiplinere benadering in die R.S.A. gedoen is, en drie lesreekse, soos beplan vir Standerd 6 en 7; Standerd 8 en vir Standerd 9 en 10 word bespreek. As deel van elke lesreeks word die wordingstand van elke ouderdomsgroep bespreek en in gedagte gehou by die saamstel van hierdie lesreekse. Elke lesreeks bestaan uit 3-4 volledig uitgewerkte lesse wat insluit: hulpmiddels (kunsvoorbeelde, musiekvoorbeelde, gedigvoorbeelde ensomeer), beknopte aantekeninge vir die onderwyser, 'n bronnelys en 'n klankkasset met die nodige klankillustrasies soos waarna in die lesse verwys word. In Afdeling C word die resultate van 'n steekproef bespreek wat gedoen is in verskeie skole in die vier provinsies van die R.S.A. Met hierdie steekproef is beoog om die reaksies van leerlinge en onderwysers te toets ten opsigte van hierdie nuwe voorgestelde, en aangepaste interdissiplinêre benadering. Die lesreekse wat deel vorm van Afdeling B is as basis deur die onderwysers gebruik, maar hul was vry om eie idees te ontwikkel en te gebruik. Die reaksies van die leerlinge en die onderwysers word in die vorm van tabelle en besprekiogs aangedui, en aanbevelings van die leerlinge en die onderwysers word aangetoon. Die tesis word afgesluit met addendums tot die verskillende hoofstukke asook volledige bibliografiese besonderhede.
- Full Text:
- Date Issued: 1993