Text in Afrikaans / Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek / An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix / Art History, Visual Arts & Musicology / D.Mus. (Musiekwetenskap)

Text in Afrikaans / Die ontwikkeling van 'n eiesoortige Suid-Afrikaanse instrumentale kamennusiekidioom deur die stelselmatige assimilasie van inheemse musikale elemente uit Afrika-musiek in die oorspionklike Europese georienteerde kamermusiekgenre, het gelei tot die navorsing oor die historiese ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek. 'n Oorsigtelike evaluasie van geselekteerde kamermusiekkomposisies word ingesluit. Bydraes deur besoekende-, immigrante of Suid-Afrikaanse komponiste moet aan die volgende kriteria voldoen, voordat die komposisies as verwysings kan kwalifiseer: (a) Die komposisies moet hoofsaaklik op Suid-Afrikaanse bodem gekomponeer wees. (b) Instrumentale kamernusiekkomposisies moet volledig en voltooid wees. ( c) Bogenoemde werke moet vir drie tot nege instrumentaliste geskryf wees. Die omruiling of afwisseling van instrumente deur die uitvoerende kunstenaars is in aanmerking geneem. Instrumentale kamermusiekkomposisies wat tydens hul studieperiode in die buiteland deur Suid-Afrikaanse komponiste gekomponeer is, is vanwee die selfverrykende proses en die voordeel wat Suid-Afrikaanse kamermusiek uit wedersydse kultuurwisseling getrek het, ingesluit. 'n Uitgebreide Suid-Afrikaanse instrumentale kamermusiekrepertorium van 512 komposisies vanaf 1890 tot 1990, sluit 365 gedateerde werke in. Die geredelike beskikbaarheid van kamermusiekinstrumente, musiekonderrigfasiliteite, asook die blootstelling aan plaaslike en internasionale instrumentale kamermusiekuitvoerings tydens konserte, huiskonserte of soirees in die voorbereidende fase (1652-1910), het 'n bevorderlike milieu vir die ontwikkeling van Suid-Afrikaanse instrumentale kamermusiek geskep. Eksteme beinvloeding deur ekonomiese, sosiologiese, militere, godsdienstige en politieke aktiwiteite het 'n beslissende rol in die ontwikkelingstempo van die SUid-Afrikaanse instrumentale kamermusiek gespeel. Evaluering van geselekteerde instrumentale kamermusiekkomposisies van 1890 tot 1990, word in 'n historiese konteks bespreek. Die ontplooiing van 'n egte Suid-Afrikaanse instrumentale kamermusiekidioom is op enkele parameters gabaseer: (a) Tematiese metamorfose (b) Tematiese frasestruktuur (c) Enkele kompositoriese tegnieke, exerpli gratia imitasie of direkte herhaling. Die bevordering van die Suid-Afrikaanse instrumentale kamennusiek word tot die bydrae van belangrike instansies en enkele musiekverenigings beperk. In Volume 2 word die verblyftydperk van besoekende komponiste asook die immigrasie- of emigrasiedatums van komponiste aangerlui. Met die insluiting van 512 instrumentale kamermusiekkomposisies deur 139 amateur en professionele Suid-Afrikaanse of besoekende komponiste, is daar gepoog om belangrike biografiese besonderhede asook enkele bydrae deur die betrokke komponis tot die uitbreiding van Suid-Afrikaanse instrumentale kamermusiek, in te sluit. Die chronologiese ordening van komposisies reflekteer die intense uitbreiding gedurende 1988 van die Suid-Afrikaanse instrumentale kamemusiekrepertorium. Addisionele inligting word in die bylae verstrek / An indigenous South African instrumental chamber music idiom development through assimilation of indigenous musical elements in the original Eurocentric orientated chamber nusic genre, by the cosmopolitan structure of South African composers led to research of historical development of South African instrumental chamber music. A synoptic evaluation of selected chamber music conpositions is included. Contributions from visiting, immigrating or South African composers had to comply with certain referential criteria: (a) Compositions must be composed mainly on South African soil. (b)Instrumental chamber music compositions must be complete and finished (c)Compositions must be composed for three to nine instrumentalists Changing or alternating of instruments by perfonning artists considered. Instrumental chamber music compositions created abroad by composers on Sabbatical are included due to the self-effacement afforded and advantages gained through mutual cultural interchange. The elaborate South African instrumental chamber music repertoire of 512 compositions from 1890 to 1990, includes 365 dated works. The availability of instruments, tuition facilities and exposure to national and inteniational perfornances through public concerts, private concerts or soirees, during the preparatory phase (1652-1910) created a favourable milieu for the developnent of chamber music. External influences such as economical, sociological, military, religious and political activities, played a determining role in the developmental tempo of South African instrumental chamber music. :Evaluation of selected instrumental chamber music compositions from 1890 to 1990 are discussed in an historical cont.ext. The evolution of an authentic South African instrumental chamber music idiom is based ona few parameters: (a)Thematic metamorphosis (b) Thematic phrase structure. (c) Certain composition techniques exempli gratia imitation or direct repetition. The promotion of South African instrumental chamber music is limited to the contributions of important organizations and music societies. In Volume 2 the period of sojourn of visiting composers as well as the inmigration and emigation dates of composers are indicated. With the enclosure of 512 compositions by 139 amateur or professional South African or visiting composers, it has been endeavoured to incorporate impotrant biographical details as well as some contributions of relevant composers. 'A chronological list of compositions reflects the extensive expansion of t.he South African instrumental chamber music repertoire during 1988. Additional information is supplied in the appendix / Art History, Visual Arts and Musicology / D.Mus. (Musiekwetenskap)

Thesis (MMus) – Stellenbosch University, 2014. / ENGLISH ABSTRACT: The sonata for violin and piano has a well-deserved place within chamber music in South Africa. It has always been one of the most prominent chamber music genres within Western art music. Between 1800 and 1900 this genre took up 21% of all composed sonatas at the time. This study provides insight into the situation in South Africa about 100 years later and it provides a critical text analysis of three violin sonatas by three of the most prominent composers of art music in South Africa. These composers are Roelof Temmingh (1993), Peter Klatzow (1996) and Hendrik Hofmeyr (2008). These are the only sonatas for violin and piano written by these three composers. There is a limited amount of violin sonatas in South Africa. A list acquired from SAMRO, statistically the most reliable source of worklists in South Africa, contains only eleven sonatas for violin and piano. These do not even include the violin sonatas of Temmingh and Hofmeyr. The limited amount of sources forces a unique aspect of research method, namely conversations with two of these composers themselves (Klatzow and Hofmeyr). This primary source of information from the two living composers assisted in the analysis of the music. European influences can be seen in all three of these sonatas. The three composers adapt and transform the music to fit their individual use of sonata form. Each of these three works contains three movements, as is customary with traditional sonata form. The second movements function as intermezzi, that leads the narrative through from the first to the last movement. Each of the three composers have their own unique sense of tonality and thematic use. Temmingh uses a main theme that resurfaces throughout the three movements – leading the whole work to sound like one large movement. Klatzow uses complicated thematic structures and thick textures. From these thematic material he extracts smaller parts later in the movement to recapture the essence of the main theme complex and to add unity to the work as a whole. Hofmeyr uses carefully planned structures and this makes his sonata the most structured of the three. His textures are thick and his tessituras are wide, and he is the only one of the three composers who uses key signatures. Like Temmingh he also makes use of a main motto-theme that resurfaces in the last movement adapted to fit the movement’s structure. In terms of the traditional use of form structure these three sonatas fit the 19h century conventions. The main outcome of this study is to introduce these works to especially the younger generation of performers in South Africa. / AFRIKAANSE OPSOMMING: Soos menige ander kunsmusiek-genre het ook die (begeleide) vioolsonate ‘n stewige plek in die Suid-Afrikaanse musiek verkry. Die sonate vir viool en klavier is een van die mees prominente kamermusiek-genres in Westerse kunsmusiek. Tussen 1800 en 1900 was soveel as 21% van alle sonates, werke vir viool en klavier. Dit is dus van spesiale belang om kennis te neem ten opsigte van hierdie situasie in Suid-Afrika ongeveer 100 jaar later. Die kern van hierdie tesis is ‘n stylkritiese teksanalise van drie Suid-Afrikaanse vioolsonates deur drie prominente Suid-Afrikaanse komponiste, nl. Roelof Temmingh (1993), Peter Klatzow (1996) en Hendrik Hofmeyr (2008). Met uitsondering van ‘n sonate vir solo viool deur Klatzow, is hierdie werke die enigste vioolsonates deur dié komponiste. Daar is ‘n beperkte aantal vioolsonates in Suid-Afrika. Selfs by SAMRO, wat ‘n aanvaarde statistiese bron van die werkslyste van komponiste in Suid-Afrika is, is daar slegs elf vioolsonates op rekord (dit sluit die vioolsonates van Temmingh en Hofmeyr uit). Die skaarste aan bronne wat oor dié onderwerp handel, dwing die navorser om onderhoude met die oorlewende twee komponiste te voer. Dit is uniek om musiek te kan bespreek met die komponis daarvan. Hierdie primêre bron van inligting vertoon unieke insigte, wat ‘n invloed op die analises van die musiek gehad het. Europese invloede is by al drie komponiste sigbaar. Die toepassings van die struktuurelemente van sonatevorm kom by al drie komponiste voor. Al drie werke is driedelig en die eerste bewegings is almal in aangepaste sonatevorm. Die tweede bewegings vorm deel van ‘n deurloop (ter ondersteuning van die narratief) na die laaste beweging toe en die laaste bewegings sorg by elke werk vir ’n unieke vorm van “konflikoplossing”. Al drie komponiste toon hul eie spesifieke sin vir tonaliteit en tematiek. Temmingh se sonate loop amper as ‘n eenbewegingstruktuur, deur middel van ‘n “motto”-tema, wat deurgaans in dieselfde toonsoort voorkom. Klatzow gebruik ‘n verskeidenheid teksture en tessiture, asook lang temakomplekse, waaruit sekere kleiner motiewe gehaal word om die musiek se eenheidsin weer te gee. Hofmeyr se uiteengesette vormplanne maak sy werk meer gestruktureerd. Ook by hom is die teksture omvangryk, maar sy gebruik van toonsoorttekens (wat afwesig is by die ander twee komponiste) vertoon nie deurgaans die toonsoort waarin die musiek werklik is nie. Hy maak ook van ‘n motto-tema gebruik. Die eerste beweging open daarmee en in die derde beweging keer dit in ‘n aangepaste vorm terug. In terme van die tradisionele Europese vormgebruike, kan hierdie drie vioolsonates onder 19de-eeuse kunsmusiek geklassifiseer word. Hierdie studie poog om ‘n bydrae te maak tot die bekendstelling van hierdie werke by veral jong musici in Suid-Afrika.