Inaug.--diss.--Berlin. / Lebenslauf. Includes bibliographical references (p. 133-136) and index.

Thesis (doctoral)--Rheinische Friedrich-Wilhelms-Universität zu Bonn, 1969. / Includes bibliographical references ; "Verzeichnis der Werke Alexander Stadtfelds" : p. 121-155.

Contemporary Canadian music is rarely performed and studied in school music programs (Bartel, Dolloff, & Shand, 1999; Shand & Bartel, 1998; Varahidis, 2012) and post-secondary institutions (Andrews & Carruthers, 2004; Carruthers, 2000). This is primarily because the music of modern professional composers is inaccessible to students (Andrews, 2004; Bowden, 2010). In other words, composers are trained in such a way that their pieces are only playable by professionals for specialized audiences (Hatrik, 2002; Colgrass, 2004; Terauds, 2011). This study examines what eight wind-composers learned from writing educational music for young musicians. Using a narrative framework, grounded in John Dewey’s theory of learning as expressed by Clandinin and Connelly (2000), data was collected through interviews. These were then interpreted and analyzed with the aid of the composers’ biographies and questionnaires. Four story categories emerged from the data regarding how to write pedagogically valid educational music: 1) The composer must desire to compose technically appropriate, challenging and enjoyable music for young musicians; 2) The composer must collaborate and have direct contact with students; 3) The composer must have a working knowledge of the instruments; and 4) The composer and teachers can use the Music Complexity Chart (MC²) as numerous benefits are associated with it.

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This thesis consists of a large composition for chamber orchestra titled Brown Eyes, Black Magic and an accompanying analytical paper. The piece, approximately twelve minutes long, is a tribute to women of color in America. The title pays homage to the “Black Girl Magic” campaign that CaShawn Thompson founded in 2013 to empower women of color by highlighting their achievements in different fields (Wilson 2016). Although the piece is not programmatic, I tried to create a mysterious sound world, in which the listener focuses on the beauty of ever-shifting sonic colors. The composition explores musical texture and timbre, and is influenced by the works of Orlando Jacinto Garcia, Georg Friederich Haas, Krzysztof Penderecki, Arnold Schoenberg, and Anton Webern.

Thesis(MMus.) -- Stellenbosch University, 1989. / ENGLISH ABSTRACT: In the past, clarinet students and lecturers experienced problems in obtaining works of South African composers. They also did not always know how to ascertain what is in existence. Practical experience is obviously the ideal way for a clarinet student to get to know composers and their styles. Therefore, it is desirable that a literature study of South African composers be at their disposal. The main purpose of this thesis is thus to acquaint clarinettists with all the available works composed in South Africa for clarinet which up to the present have been inaccessible. The purpose of this thesis is not to make a critical style analysis of the works. This thesis is a presentation of works which have been unknown up to the present, and could therefore be viewed as an annotated catalogue. The discussion of the works has been structured in such a way that the intending student will be guided to a better insight in the works. Ample use has been made of examples to highlight those factors pertaining to the performance and tuition of these compositions. Before discussing each work, a short biography of each composer is given to date and identify the composer. At the end of each discussion, reference is made to the suitability for performance and/or examination of each composition. Finally, a summary (Chapter 3) indicates which works are best suited for examination purposes, and which ones better suited for concert programmes. / AFRIKAANSE OPSOMMING: Klarinetstudente en -dosente het in die verlede gesukkel om beskikbare werke wat in Suid-Afrika geskryf is te vind. Hulle het ook nie geweet hoe om vas te stel wat wel beskikbaar is nie. Praktiese ervaring is uiteraard die ideale manier waarop enige klarinetstudent komponiste en hulle stylkenmerke kan leer ken. Daarom is dit wenslik dat n literatuurstudie van Suid-Afrikaanse komponiste tot hulle bekikking is. Die belangrikste doelwit van hierdie tesis is dus om die meeste beskikbare werke wat in Suid-Afrika vir die klarinet gekomponeer is en tot dusver vir baie klarinettiste ontoeganklik was, bekend te stel. Die tesis se doel is nie om stylkritiese-analise van die werke te doen nie. Dit is eerder n bekendstelling van werke wat tot dusver onbekend was en kan as 'n geannoteerde katalogus beskou word. Die bespreking van die werke is so saamgestel dat die voornemende student gelei word tot groter insig daarin. Daar is van heelwat voorbeelde gebruik gemaak om die faktore wat op die voordrag en onderrig van die werke betrekking het, uit te lig. Voor die bespreking van elke werk word n kort biografie van elke komponis gegee om die komponis in n tydperk te plaas en te identifiseer. Na elke bespreking word daar verwys na die geskiktheid van die betrokke komposisie(s) ten opsigte van konsertuivoering en/of eksamens. Ten slotte is daar n opsomming wat aandui watter werke die geskikste vir eksamendoeleindes is en watter eerder geskik is vir konsertprogram.

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Ahmed Adnan Saygun (1907-1991) was one of Turkey's most prominent composers, described in The Times obituary as "the grand old man of Turkish music, who was to his country what Sibelius is to Finland, what de Falla is to Spain and what Bartók is to Hungary" (15 January 1991). Yet so far Saygun's life and works have never been the subject of a critical study in or outside Turkey. This thesis aims to create a comprehensible picture of his life and music for the first time. Divided into three parts, Part I of the thesis presents an annotated biography, preceded by a short introductory survey on the state of European music within the Ottoman Empire, which was significant in Saygun's upbringing. Taking as source material scattered newspaper articles, interviews and hitherto unpublished letters and a diary belonging to the composer, Part I focuses on Saygun's musical upbringing in Izmir and his subsequent education in Paris under Vincent d'Indy at the Schola Cantorum between 1928 and 1931. Also amongst the issues that are addressed here is the important role Saygun played in the musical life of the country on his return to Turkey from Paris, which was being rapidly transformed under Kemal Atatürk's reform movement; his enthusiasm for Turkish folk-music which led to a collaboration with Bela Bartók that finally culminated in the latter's celebrated field-trip to Anatolia in 1936 and his friendship with Michael Tippett, drawn from Tippett's original unpublished letters. The thesis shows that Saygun was not only responsible for training future musicians of Turkey in Western compositional techniques, but also himself wrote works in line with the country's modem music policy which took the principles of European polyphonic music as a model. As a prolific composer Saygun's output comprised five operas, five symphonies, three string quartets, five concertos and a wide range of chamber and choral music. Taking selective works, Part II looks at his developing style, beginning with the influence of the Schola Cantorum education and the effects of the music policy of the early republican years on his output and establishes him as the national composer of Turkey. Works discussed include the oratorio Yunus Emre (1942), his most celebrated work, which immediately became a symbol of the music reforms and was subsequently conducted by Leopold Stokowski in New York in 1958, the first two string quartets, the first two symphonies and the two piano concertos. Part III is a catalogue raisonné which has been compiled through evaluating existing lists of works and going through all the autograph manuscript scores of the composer that are housed at the Bilkent University Adnan Saygun Archives in Ankara. Since Saygun's works have never been systematically catalogued before, the information given here includes dates of composition, instrumentation, duration, dedication, location of manuscripts, publication and recording details, as well as translations of hitherto unpublished analytical notes on certain works written by the composer.