Submitted to the Faculty of Arts in fulfillment of the requirements for the degree of MASTER OF ARTS in the Department of African Languages at the University of Zululand, South Africa, 2009. / The main concern of this dissertation is an attempt to bring forward the contributions Choral Music has and is still playing in the promotion of Language and Literary aspects. The study commences by laying out the challenges this art form (choral music) is facing, namely that its composers are not taken seriously and are not fully recognised in promoting the economy of the country and the well being of all, through the message it passes on in a form of entertainment. This study further attempts to describe the historical background of choral music by giving its definition, goals, essential elements of music, notation and form including musical instruments that are used in African and Western cultures. The study continues explaining how the different individuals participate either in listening and/or creating music in order to understand the emotional content of the piece, pathos, love, anger - as well as the story itself which is communicated through words, music, movement and technical aspects of the entertainment as an integrated whole. Last but not least, the study rounds up by showing how the linguistic aspect of music is conducted either in a Western or African route by learners in Mpumalanga Province in order to promote social, political and cultural tolerance. The study finally closes by recommending on how the literal aspects of introducing music in Mpumalanga Schools could be introduced. This includes proposed resources in curriculum such as buildings and the type of personnel that could be identified and be supported in order to introduce music as an examination subject in schools.

Submitted in partial fulfilment of the requirements for the Degree Doctor of Philosophy in the Department of African Languages in the Faculty of Arts at the University of Zululand, South Africa, 2003. / The life and work of Doctor Sibiya, Peter Qwabe and Isaac Tlou deals with their life stories and four compositions of each. The three human subjects are used in a symbolic form to depict the struggle of people from disadvantaged communities who despite of all odds, emerged and succeeded to give back to their communities through their compositions and expertise in choral music by running choral music workshops and adjudicating in choral music competitions. The first chapter is the introductory perspective of this research, which includes the explanation of music as common factor among the three oral sources, factors to be born in mind when conducting a research with oral sources, motivation, aims and the role of music in African societies of the study and research methodology. The second chapter deals with the effects of the South African policies before 1994 to Sibiya, Qwabe and Tlou as well as other black South Africans in order to understand and appreciate the full extent of circumstances from which these contributors emerged. A brief historic review of South Africa, and the extent of the educational deprivation of the black people will be looked into. The third chapter deals with the life and work of Doctor Sibiya in which four of his compositions are transcribed in both tonic solfa and staff notation

There exists a need to explore the music of living composers--to acknowledge and advocate the merit of his or her own culture as evidenced in musical composition. Richard Bruce Faith is a living American composer who served a tenured position at The University of Arizona from 1961-1988, in the School of Music. The merit of Faith's music has been established through discussion of his compositions in professional music journals, bibliographical reviews, newspaper reviews, and graduate research documents. Many of his songs, piano works and orchestral compositions have been published. His operas have been and are continuing to be performed. Publication of Faith's compositions has historically been achieved after continuing discussion in professional journals and after regular performances have created a demand for his product. The choral works of Richard Faith are not published at this time. The choral compositions are an interesting and varied group. Their quality is consistent within the composer's compositional whole. Seventeen of the eighteen choral works were commissioned by or composed with a specific performing choir in mind. The suitability of these compositions for distinct types of choral forces is an obvious result of Faith's pre-defined compositional strictures. For instance, the four anthems for church choir are less demanding than the Three Songs for Male Chorus, which were written for a semi-professional community chorus. The compositional tools which define Faith's unique style also characterize the musical requirements necessary for a successful performance of the individual works. This measure of requisite musicianship is clear in the choral works. In fact, their origin as commissioned works and the intention of specific musicians to perform the works, determined how Faith would use his compositional tools. The search for new music suited to the abilities of singers and accompanists is an ongoing challenge for many choral conductors. Publication of Richard Faith's choral works would answer the need for new music among the great diversity of choirs. Publication of this interesting compositional body would also acknowledge a fine American composer.

This thesis, A Portfolio of Original Compositions, contains six musical compositions and an accompanying commentary presented for the degree of Doctor of Philosophy in Music Composition at the University of Aberdeen in 2018. The focus of my research at the University is sacred choral music composition, though not exclusively; many instrumental works and secular choral and vocal works have contributed to the development of my compositional technique. The portfolio contains two large-form sacred works: the St Andrew's Mass, a setting of the mass ordinary for chorus and quartet, and Babylon, a 30-minute work for large choir and percussion on themes of journeying and solitude, excerpting texts from both sacred and American folk sources. This commentary will focus on these works, as they have been the focal point of my research at the University, with supplementary examples of techniques and ideas from the other shorter works in the portfolio. The individual chapters of the accompanying commentary will discuss various aspects of research-based composition found throughout the portfolio, with particular focus on my use of text, texture, and harmony. I will examine how these elements are used in the St Andrew's Mass and Babylon, whereas these two works comprise the bulk of my research. Additionally, I will discuss the contributions of influences from works by other composers of the past and present, as well as folk and traditional sources, to my compositional outlook and research.

Program notes and recording of the recital, performed by the Kansas State University Chamber Choir; Jess Wade, piano; the author, conductor. / Digitized by Kansas Correctional Industries

No description available.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2008. / Title from title screen (site viewed Sept. 16, 2008). PDF text: 115 p. : port., music ; 4 MB. UMI publication number: AAT 3297463. Includes bibliographical references. Also available in microfilm and microfiche formats.

Dissertation (M.Mus. (Performing Arts))--University of Pretoria, 2007. / Abstract in Afrikaans and English. Includes bibliographical references. Available on the Internet via the World Wide Web.

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves [121]-126).

Thesis (D.M.A.)--University of Oklahoma, 1990. / Includes bibliographical references (leaves 321-331).