Thesis (MMus) -- Stellenbosch University, 1986. / INLEIDING: Die Sangfees op Stellenbosch is tans nog’n belangrike jaarlikse musiekaktiwiteit en studente-geleentheid. Die vrae rondom die geskiedenis daaragter was die aansporing tot die studie, en met hierdie ondersoek sal gepoog word om vrae te beantwoord soos die volgende: (1) Watter faktore het aanleiding gegee tot die ontstaan; (2) wanneer en deur wie is die Sangfees gestig; (3) hoe het die heel eerste Sangfees daar uitgesien; (4) hoe is dit met verloop van jare georganiseer en deur wie; (5) neem dit tans nog dieselfde vorm aan as destyds; (6) hoe belangrik was die Sangfees tydens die aanvangsjare en watter plek beklee dit teen 1980 in die Stellenbosse musieklewe. Daar sal ook gelet word op die reaksie wat die Sangfees ontlok het, hetsy deur musiekkenners, die pers, studenterade, die studente self, dit wil sê almal wat deur die jare daarby betrokke was. 'n Ander belangrike aspek wat nagevors sal word is die musiek wat tydens Sangfees uitgevoer is sedert die ontstaan tot en met 1980. Het die styl van die Sangfeesprogramme mettertyd verander en indien weI, wat was die aard van die veranderinge?

In this essay I have investigated how music and song can promote children’s language development. I have investigated what the preschool teachers think about music connected to language development and if they believe that they need to have the skills and experience for it to become a learning experience for children. I have done my research at two different preschools to support my findings. In each preschool I have interviewed a preschool teacher and also studied the children and teachers when they sang and made music together. The results I have gathered show that language and music have common components like rhythm, tone, pauses and melodies. During my observations I could see that the teachers used tools like movement, objects and sign language to promote the understanding of the words in the songs. In the result we also can see that the preschool teachers possess insight in the importance of music connected to children’s language development. Songs with movement are a commonly used tool which serves to lift children’s language development. This is because that through movement they can give meaning to the lyrics in the song. However it is important that the preschool teachers are devoted in their work with music with children. The educator must be aware of the importance of the social interaction and show an interest in the work with music. A danger can be that educators that aren’t aware of the importance of music or doesn’t show any interest in what’s being done will rub off their emotions onto the children that will increase a risk of little to no development or learning taking place.

John Musto (b. 1954) is a composer of many genres for voice including song, opera and chamber music. Influences of jazz, ragtime, blues, and popular music have strongly influenced Musto's unique compositional style, which often incorporates contemporary genres with formal classical techniques. Held in high esteem by his colleagues of fellow composers and performers, Musto is often commissioned to compose new works for specific artists and events. This document focuses on two of these compositions, River Songs (2002) and The Brief Light (2010). Examination of these two chamber cycles displays the composer's unique compositional style and lends insight into the choices made by Musto during the composing process. Performers can use this document to better understand Musto's use of harmony, poetry, and instrumentation to inform performances of these songs.

published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

Winterreise : D. 911 / Franz Schubert. / text

No description available.

Percy Grainger collected English folk song only for a short period between 1905 and 1909 as part of the revival of interest in all things English among antiquarians, folklorists, and nationalists. Grainger’s publication of his transcriptions and analysis in the Journal of the Folk Song Society in 1908 is considered one of the most insightful and groundbreaking examinations of English folk song of its time, far removed from the dilettante activities of many other collectors. His article was, however, harshly criticized by the Editorial Committee of the Journal, and Grainger subsequently never again published any significant transcriptions of English folk music. Grainger’s English folk song transcriptions have received their fair share of attention from ethnomusicologists. Thus far, however, no one has examined the connections between this aspect of his musical activities and his modernist philosophy of music. I contend that Grainger’s article contains the seeds of what would eventually become his mature, though never fully realized, musical aesthetic, and that it was this aesthetic that allowed him to examine English folk song in a manner never before imagined by other collectors. This dissertation follows the thread of his aesthetic throughout his numerous musical interests in order to demonstrate the potency of his philosophy as manifest in his examination of folk song in the Journal. To this end, I bring to bear a wide range of critical methodologies, including those of ethnomusicology, aesthetics, and critical theory. Grainger never spelled out with any clarity the fundamental tenets of his aesthetic, but I believe that such an aesthetic can be reconstructed through a broad examination of his writings and his music. Grainger shares his role in this dissertation with many other characters including Benjamin Britten, Evald Tang Kristensen, Cecil Sharp, Bela Bartok, Ferruccio Busoni, and even Jacques Derrida, often even ceding his place in the spotlight to them. This is, however, a crucial occurrence, for as my examination demonstrates, this fully realized version of his aesthetic means that Grainger emerges as a far more important and revolutionary thinker in the history of music than he has thus far been considered.

No description available.

The Song of Songs was the most commented upon biblical text in medieval Europe and became the cornerstone of the Western mystical tradition, but our knowledge of its use in Latin Christian communities before the time of Ambrose and Jerome is largely fragmentary. The thesis is a study of the use and interpretation of the Song in the Latin West during the period 250 – 380 CE, with a focus on the Tractatus de Epithalamio of Gregory of Elvira (c. 320-392), which is the earliest extant Song commentary composed in Latin. The research demonstrates that there was a robust tradition of Song exegesis in early Latin Christianity, although the mystical-affective interpretation that marks the later tradition is entirely absent. The poem is, rather, interpreted in an ecclesiological mode and is put in the service of communal selfdefinition. Gregory’s Tractatus, which I argue should be dated to 350-55, is a key source in recovering this largely lost tradition. The first part of the thesis traces in detail all of the citations of the Song in Latin Christian literature during the period in question, focusing on the writings of Cyprian of Carthage, Optatus of Milevis, Tyconius, Pacian of Barcelona, and Augustine. There emerge a cluster of passages from the Song that become key proof texts in ecclesiological controversies in North Africa and Spain. The second part engages problems in Gregorian scholarship, particularly issues pertaining to Gregory’s supposed direct knowledge and use of Origen’s writings. Scholars assert that his exegetical writings reflect the Origenist turn of the late fourth century. Using the tools of source criticism and theological analysis, I contest this hypothesis, demonstrating that the evidence of Origen’s influence has been greatly exaggerated and that the points of contact which do exist must be explained with reference to intermediary Latin sources. The third part sets the Tractatus de Epithalamio within its precise historical context and offers a close reading of the text, giving an account of its Christology, ecclesiology, and use of sources. The Tractatus, I argue, represents a ‘fusion’ of a distinctly Latin tradition of ecclesiological exegesis with a particularly Spanish mode of Christological reflection, which treats the enfleshment of the Word in the Incarnation and the embodiment of the risen Christ in the church as conceptually inseparable. Related historical problems, such as the chronology of Gregory’s career, are treated in appendices.