Thesis (MMus.) -- Stellenbosch University, 1990. / ENGLISH ABSTRACT: This study was undertaken after it was found that aural training is being neglected in general. The researcher wanted to explore a possible solution. Aural training integrated with piano training is regarded as a way of teaching that will grant aural training its rightful place in music education. A literature study was undertaken and personal interviews were held with eleven specialists in the field of music. It was found that a small amount of integration is taking place, but that a purposeful effort must be made to integrate aural training with piano training during the whole duration of a piano lesson. A theory, on·which integrated teaching is being based, was set up and guidelines for aural training integrated with piano training were given. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem omdat gehooropleiding in die algemeen afgeskeep word en die navorser ' n moontlike oplossing wou ondersoek. Geïntegreerde gehooropleiding by klavieronderrig word beskou as ' n onderwysmetode wat aan gehooropleiding sy regmatige plek in musiekonderrig sal verleen. 'n Literatuuroorsig is gedoen en persoonlike onderhoude is gevoer met elf gesaghebbendes op musiekgebied. Daar is vasgestel dat integrasie wel in ' n klein mate onbewustelik plaasvind, maar dat daar 'n doelbewuste poging aangewend moet word om gehooronderrig te alle tye tydens ' n klavierles te integreer. 'n Teorie waarop geïntegreerde onderwys gebaseer word, is opgestel en riglyne vir geïntegreerde gehooronderrig by klavieronderrig is ook gegee.

Thesis (PhD) -- Stellenbosch University, 1993. / ENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory towards Aural Training are furthermore made. The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological approaches found in published and unpublished sources, as well as a practical questionnaire-based survey, investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA), the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an integrated Aural Training approach for children is proposed in the third part. Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c) prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable; (h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and teaching methods; (j) commercially available software is often chosen because of its availability and not because of being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals of Aural Training and to apply music psychological principles. Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the conviction that most effective learning takes place through active involvement and creation, and (b) music psychological principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman, and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural Training methods. Examples of children's compositions are presented to support this model. It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents, teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through composition. / AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding word ten slotte voorgestel aan hand van hierdie inligting. Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel. 'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel. Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c) voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f) gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in gehooropleiding te inkorporeer. Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick- Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking, aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes. Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar is. Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t) metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k) gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this study an investigation into Arnold van Wyk’s song oeuvre — including the published and unpublished (completed and incomplete) songs — is done on the basis of the available composition sketches in the Arnold van Wyk Collection at Stellenbosch University. Firstly, Van Wyk as composer of art song in South Africa was put in perspective against the broader cultural context, especially in relation to Afrikaans poets who were his contemporaries. An overall view is also provided of possible influences that other composers had on his work. This provides an holistic picture of Van Wyk as composer of the art song. In his Juvenilia a surprisingly large amount of his music language is present, though not yet mature. Four prominent periods characterise the discussion of Van Wyk’s song oeuvre. In addition to these periods the study provides a summary that clearly shows his development as an art song composer as well as the musical devices which, in the course of time, became characteristic as part of his style in song writing. Owing to the fact that the setting to music of each song’s vocal part is analysed in close relationship to the source text, the complete text have been provided, with Afrikaans verbatim translations for the Latin and Old Dutch poems. Even though the composer sometimes only sets a couple of stanzas of the text, the complete poem is provided to properly orientate the reader. This allows the complete picture of each song to be taken into account. The relationship between each text and its setting to music of the song’s vocal part is analysed. This also applies to the illustrative meaning of where in the vocal range each text lies (the range as well as tessiture of the vocal part) and the illustrative use of intervals and other melodic devices such as melismas, setting to rhythmic patterns, etc. The accompaniment is investigated, regarding the relationship to and illustrative of the text, complementary to and in support of the vocal part as well as to which extent it supports the song’s formal design. Only the most prominent characteristics of Van Wyk’s highly complex harmonic usage are pointed out. An important aspect of this study is the investigation from a vocal technical point of view into how Van Wyk merged the writing of a vocal melody with his knowledge of the human voice, for instance in Van liefde en verlatenheid as well as in the Petronius songs. Where available, the history of how a song evolved is recorded in great detail, to illustrate the inception of a specific musical idea as well as its development and finalisation, but moreover, to allow the sketches to reveal how tedious (and sometimes even laid-back) the composition process took place most of the time. Van Wyk’s method and tempo of composing can be clearly deduced from the compositional sketches. These conclusions are confirmed and illustrated by his fairly regular dating of his work, and by information such as an address and/or some diary information that he occasionally added. Particulars like these are often included in this study, to shed light on the compositional process as well as on the composer as a human being. To avoid scanning numerous examples of notes, the C1 tot c3 way of spelling the notes is used. / AFRIKAANSE OPSOMMING: In hierdie studie word Arnold van Wyk se liedoeuvre — die gepubliseerde asook die ongepubliseerde (voltooide en onvoltooide) liedere — ondersoek aan die hand van die beskikbare komposisiesketse in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Ten aanvang word Van Wyk as komponis van die kunslied in Suid-Afrika in perspektief tot die breër kulturele konteks geplaas, veral in verband met sy Afrikaanse digter-tydgenote. Daar word ook oorsigtelik verwys na moontlike invloede van ander komponiste op sy werk. ’n Omvattende beeld van Van Wyk as liedkomponis kom sodoende na vore. Verrassend baie van die musiektaal van sy liedkuns is reeds (wel nog in die kinderskoene) in sy juvenilia aanwesig. Vier prominente tydperke kenmerk die bespreking van Van Wyk se liedoeuvre en word telkens aangevul deur ’n samevatting waaruit sy ontwikkeling as liedkomponis duidelik blyk, asook watter musikale middele mettertyd as kenmerkend van sy liedstyl gevestig het. Omdat die verloop van elke lied sover moontlik aan die hand van die verloop van die teks omskryf word, word die volledige tekste deurlopend gegee, met Afrikaanse woordelikse vertalings by die Latynse en Oudnederlandse gedigte. Al toonset die komponis soms net enkele strofes van ’n gedig, word die hele gedig of ’n gedeelte daarvan nogtans verskaf ter wille van oriëntasie. Die geheelbeeld van die liedere word sodoende in aanmerking geneem. Die toonsetting van die stemparty word ondersoek veral met betrekking tot die woord-toonverhouding. Dit geld ook vir die illustratiewe betekenis van die plasing van die teks in die stemomvang, die omvang en tessituur van die stemparty en die illustratiewe gebruik van intervalle en ander melodiese middele soos melismas, ritmiese verklanking, en so meer. Begeleiding word ondersoek rakende die verwantskap met en illustratief van die teks en as aanvulling en ondersteuning van die stemparty asook in hoeverre dit die vormskema ondersteun. Slegs die opvallendste eienskappe van Van Wyk se uiters komplekse harmoniek word uitgewys. ’n Belangrike aspek van dié studie is dat Van Wyk se vereniging van melodiegewing en sy kennis van die menslike stem, onder meer in Van liefde en verlatenheid en die Petronius-liedere, ook uit ’n sangtegniese perspektief ondersoek word. Waar die ontstaansgeskiedenis van ’n lied beskikbaar is, is dit in fyn besonderhede geboekstaaf, om te toon wanneer ’n spesifieke musikale idee ontstaan het en hoe dit ontwikkel en finale beslag gekry het, maar meer nog, om die komposisiesketse self te laat verslag doen van die meestal werklik moeisame (soms trae) komposisieproses. Van Wyk se komposisionele werkwyse en die tempo van komposisie kan duidelik afgelei word uit die komposisiesketse. Dié gevolgtrekkings word gestaaf en toegelig deur die feit dat hy redelik getrou die werk gedateer en dikwels ook ’n adres en/of ’n stukkie dagboekinligting bygeskryf het. Laasgenoemde word dan meestal bygebring aangesien dit lig werp op die komposisieproses asook die komponis van dié liedere as mens gestalte laat kry. Om inskandering van talryke notevoorbeelde te vermy, word die C1 tot c3-skryfwyse gebruik.

Thesis (M.Mus)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: For many decades music has been recognised as a medium for therapy. The reasons put forward include the ability of music to inspire people, to motivate, to integrate and to promote relaxation. A strong link exists between human beings and music and this can unite people from different cultures. Music is readily available everywhere. People can attend music concerts or be part of a choir or orchestra. Music is even available in homes at the press of a button. Music therapy is a fairly new concept in which music and psychology are combined. For many years people have used music for healing. It is because music has produced such positive results in problem cases that it is being used in therapy sessions to contribute to the healing process. Although many people have an understanding of what music therapy entails, there are also those with no idea of what it entails. This thesis is an in-depth investigation into music therapy and the possible functional outcomes thereof. The focus is on the music therapist, characteristics that the music therapist should possess, how and why music is used as medium in the therapy process, different methods of therapy and the influence thereof on problems. The position of music therapy in the Western Cape was investigated. To arrive at a reliable conclusion in this regard, people who work with music therapy have been involved. Interviews were held with qualified and non-qualified persons who practice some form of music therapy in the Western Cape. Information from these interviews is interpreted, conveyed and recommendations are made as to the advancement of music therapy in the Western Cape. The purpose of the investigation is to publish information regarding music therapy and the meaning thereof. The larger public must be made aware of the complementary role music therapy can play in the healing process. Eventually music therapy should take its place in health care in the Western Cape, together with other branches of the medical profession such as psychology and career therapy. / AFRIKAANSE OPSOMMING: Vir dekades word musiek al as ’n medium vir terapie erken. Die redes wat hiervoor aangevoer word, is dat musiek beskik oor die vermoë om mense te inspireer, te motiveer, te integreer en om ontspanning te bevorder. Daar bestaan ’n wesenlike verband tussen die mens en musiek en as gevolg hiervan kan musiek mense van verskillende kulture byeenbring. Musiek is oral en vrylik beskikbaar. Mense kan musiekkonserte bywoon, óf deel van ’n koor óf orkes uitmaak. Musiek is selfs deur die druk van ’n knoppie in wonings beskikbaar. Musiekterapie is ’n relatiewe nuwe begrip waartydens musiek en sielkunde gekombineer word. Vir baie jare al word musiek gebruik om te help om mense gesond te maak. Juis omdat musiek sulke positiewe resultate in probleemgevalle getoon het, word dit tydens terapiesessies gebruik om tot die genesingsproses by te dra. Alhoewel baie mense ’n begrip het van wat musiekterapie is, is daar ook diegene wat geen benul het waaroor dit gaan nie. Hierdie tesis is ’n indringende ondersoek na musiekterapie en die moontlike funksionele uitkomste daarvan. Daar word gefokus op die musiekterapeut, eienskappe wat die musiekterapeut behoort te hê, hóé en waarom musiek as medium in die terapieproses gebruik word, verskillende terapiemetodes en hoe dit probleme beïnvloed. Die stand van musiekterapie in die Wes-Kaap is ondersoek. Om tot ’n betroubare gevolgtrekking hieroor te kom, is persone wat gereeld met musiekterapie werk, betrek. Daar is onderhoude met gekwalifiseerde asook niegekwalifiseerde persone wat die een of ander vorm van musiekterapie in die Wes-Kaap beoefen, gevoer. Inligting bekom uit hierdie onderhoude word geïnterpreteer, oorgedra en aanbevelings oor die bevordering van musiekterapie in die Wes-Kaap word gemaak. Die doel van die ondersoek is om inligting aangaande musiekterapie sowel die betekenis daarvan bekend te maak. Die breë publiek moet bewus gemaak word van die aanvullende rol wat musiekterapie in die genesende proses kan speel. Uiteindelik behoort musiekterapie, saam met ander vertakkings van die mediese beroep soos byvoorbeeld sielkunde en beroepsterapie, sy plek in die gesondheidsorg van die Wes-Kaap in te neem.

Thesis (MMus (Music))--Stellenbosch University, 2008. / This study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.

Thesis (MMUS (Music))--Stellenbosch University, 2010. / ENGLISH ABSTRACT: The South African-born British composer Priaulx Rainier (1903-1986) wrote her Requiem (1955-1956) for solo tenor and choir to a text by surrealist poet David Gascoyne. The poem (completed in 1940) contradicts the commemorative genre of the requiem and instead anticipates the prospective victims of the war that was to come. Due to the disturbances caused by the war, Rainier only started working on the music fifteen years later in 1955. Existing discourse on Rainier has been shaped by the thoughtless regurgitation of opinions, reviews and clichéd biographical models. Since very few detailed analyses of Rainier’s works exist, this thesis attempts to address this gap in research on this composer. It therefore aims to contribute to a more balanced, evidence-based discourse. The significance of the Requiem is that it was said by commentators to indicate a period of increasing abstraction in Rainier’s oeuvre. The findings regarding tonality in this work may therefore serve as a point of reference in future analyses of works preceding and following the Requiem. In the literature review, recurring issues in the discourse on Rainier (such as the numerous references to her childhood in Natal as an influence on her works and the descriptions of her works as possessing a masculine gender identity) is highlighted. The contextualisation that follows includes a reception-based periodisation of Rainier’s works and a “biography” of the Requiem, with a special focus on the intersection between the symbolic world of David Gascoyne and the Requiem and the sculptor Barbara Hepworth’s influence on Rainier’s work. Underpinning these contextual considerations is a set theory analysis of the work that attempts to illustrate the composer’s aspiration towards musical abstraction as a creative force. The findings of the analysis are also contextualised with regard to existing notions of Rainier’s style and tonality in her music. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaans gebore Britse komponis Priaulx Rainier (1903-1986) se Requiem (1955-1956) vir solo-tenoor en koor is ’n toonsetting van ’n gedig deur die surrealistiese digter David Gascoyne. Die gedig weerspreek die gedenkende karakter van die requiem genre deurdat dit vooruitwys na die slagoffers van die oorlog wat op hande was. As gevolg van die onderbrekings wat deur die oorlog veroorsaak was, het Rainier eers vyftien jaar later, in 1955, aan die musiek begin werk. Die ondeurdagte herhaling van opinies, resensies en biografiese clichés kenmerk huidige diskoers oor Rainier. Aangesien daar min gedetailleerde analises van Rainier se werke in die literatuur bestaan, poog hierdie tesis om bestaande leemtes in die navorsing oor Rainier te vul. Dit streef ook na die ontwikkeling van ’n meer gebalanseerde, bewysgebaseerde diskoers. Die belang van hierdie werk setel hoofsaaklik daarin dat dit volgens sommige bronne dui op ’n kenteringsmoment in Rainier se oeuvre, waarna haar werke meer abstrak geword het. Die bevindinge rakende tonaliteit in hierdie werk kan dus dien as ’n verwysingspunt vir toekomstige analises van Rainier se werke wat die Requiem voorafgaan en volg. Herhalende elemente in die diskoers oor Rainier (soos die invloed van haar kinderjare in Natal op haar werke en die beskrywings van ’n manlike gender-identeit in haar werke) word in die literatuurstudie uitgelig. Die konstekstualisering wat volg bestaan uit ’n literatuur-gebaseerde periodisering van haar werke en ’n “biografie” van die Requiem wat fokus op die verhouding tussen simboliek in die werke van David Gascoyne en die Requiem en die invloed van die beeldhouer Barbara Hepworth op Rainier se werke. Die kontekstualisering word gevolg deur ’n ‘set’-teorie-analise van die werk waarin gepoog word om die komponis se strewe na musikale abstraksie as kreatiewe inspirasie aan te toon. Die bevindinge van die analise word dan vergelyk met die bestaande opvattinge oor styl en tonaliteit in Rainier se werke. / COMPOSITIONS: In Paradisum for SATB choir 2 Droom for mezzo-soprano and piano: 11 • Kuspad 14 • Sy 17 • Glasblaser 20 • Glasprater 23 String trio arrangements from Droom: • Glasblaser 26 • Glasprater 30 Het Hom! for tenor saxophone 34 The beauty in sorrow for string quartet: 37 • First Movement 40 • Second Movement 49 • Third Movement 54 Symphonata for orchestra: 61 • First Movement 62 • Second Movement 66 • Third Movement 71 • Fourth Movement 77

Thesis (M.Mus) -- University of Stellenbosch, 2000. / Some digitised pages may appear illegible due to the condition of the original hard copy. (entire content of poor quality) / ENGLISH ABSTRACT: The foundation for this study is the belief that music is an essential part of human existence and thus of education. It not only addresses individual and communal human needs but the multicultural nature thereof gives it special significance for education in the ''New South-Africa". This significance lies in the value of music in its own right (intra disciplinary) as well as the use of music for its intrinsic qualities to facilitate the teaching of all other fields of knowledge (interdisciplinary). Recent research and new thinking in the fields of intelligence and learning support this belief. The old one-dimensional approach to intelligence is no longer tenable and has been supplanted by the acknowledgement that human intelligence is multi-faceted. Musical ability is now recognized as a separate intelligence while the use of music is regarded as being an important factor in the development and functioning of the human thought process. Research on the role played by emotions and morality as well as that on the characteristics of genius, optimal experiences and the implications of the functioning of the brain, are all explored with reference to what this means for music education (and using music in education) in this country today. The new Curriculum 2005 at present being introduced into South-Africa is an example of Outcomes-based Education. The way in which the Arts and Culture Learning Area of Curriculum 2005 approaches music education corresponds with the interdisciplinary and intra disciplinary distinction. These aspects are discussed and material is included for use in order to realise the expressed and desired outcomes for music education in the Foundation Phase. Elliott's alternative approach (music-as-practicum), instead of Reimer's traditional music curriculum making, is used as point of departure. / AFRIKAANSE OPSOMMING: Die oortuiging dat musiek 'n essensiële deel van die menslike bestaan en dus van opvoeding is, lê ten grondslag van hierdie studie. Nie alleen spreek dit individuele sowel as gemeenskaplike menslike behoeftes aan nie, maar die multikulturele aard daarvan maak dit van groot belang vir opvoeding in die "Nuwe Suid-Afrika". Die belang is daarin geleë dat opvoeding in musiek op sigself waarde het (intradissiplinêr), maar ook leer in alle ander vakgebiede kan fasiliteer (interdissiplinêr). Onlangse navorsing ten opsigte van intelligensie en opvoeding staaf hierdie siening. Die vroeëre een-dimensionele siening van menslike intelligensie is nie meer houdbaar nie en is vervang deur die erkenning dat intelligensie vele fasette het. Musikale vermoëns word tans as 'n outonome intelligensie beskou, terwyl die groot invloed van musiek op die ontwikkeling en funksionering van die menslike denkpatrone erken word. Navorsing oor die rol van die emosies, moraliteit, die kenmerke van die genie, optimale ondervindinge en die funksionering van die brein, word ondersoek met verwysing veral na die belang daarvan vir musiekopvoeding (en die gebruik van musiek in opvoeding) tans in Suid-Afrika. Die nuwe Kurrikulum 2005 wat tans in Suid-Afrika ingevoer word, is 'n voorbeeld van Uitkomsgebaseerde Onderwys. Die benadering van die Kuns en Kultuur Leerarea in die Kurrikulum 2005 tot musiekopvoeding stem ooreen met die inter- en intradissiplinêre verdeling. Hierdie aspekte word bespreek en materiaal word ingesluit vir gebruik by die nastreef van die uitdruklike en wenslike uitkomstes vir musiekopvoeding in die Grondslagfase. Elliott se alternatiewe benadering tot kurrikulering vir musiek (musiek-as-practicum), in teenstelling met Reimer se tradisionele MEAE model, word as uitgangspunt gebruik.

Thesis (MMus) -- Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study attempts to address some shortcomings of brass tuition in South Africa. It is unique in its approach in concentrating on musicians from previously disadvantaged communities, although the content of the document can be equally successfully applied to brass teaching in general. The study differs from any previous written material on this topic in that it takes the background of the previously disadvantaged educator and learner into consideration. It therefore does not assume that the learner can read music or that the educator has any formal training. The challenge is thus to write a document to provide the educator and learner with basic information in a medium that does not take anything for granted and that also offers some practical guidance in already existing projects. As a starting point a background is offered to produce a general overview of the problem. My research has convinced me that a document which consists only of a written text would not be sufficient to guide the educator and learner. I have therefore set out to accompany the text document with a practical trumpet manual. South African melodies were predominantly used as study material. This offers the opportunity to all South African learners from different cultural backgrounds to identify with the study material. My literature review includes a selection of the most commonly used beginner brass manuals in South Africa. For practical reasons I made use of abbreviations in the trumpet manual to indicate the source of a particular melody. / AFRIKAANSE OPSOMMING: GEEN

Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: As an instrument the recorder enjoys an active following in South African schools, in tertiary institutions and in private tuition. In spite of this healthy interest, few teachers and students are afforded significant exposure to essentially good recorder playing, nor do they receive specialised tuition in the various aspects of this field of study. The development - and popularity - of the recorder reached a high point during the Baroque era. During this period the greatest repertoire for the instrument was composed. It is to this music that the player is mostly exposed. The French Baroque falls within the broader Baroque period and has provided a substantial repertoire that is freely available and regularly performed, either as part of an examination programme or as a self-study piece at eisteddfodau. It is clear, however, that among South African recorder teachers and students, the background knowledge required for a historically informed performance of pieces from this period is generally insufficient. The reason for this could be a lack of exposure to this particular style: a problem that cannot be overcome without a concerted effort on the part of the teachers and students to redress it. The purpose of this study is to stimulate an enthusiasm for French Baroque music among teachers and students, and to provide them with a store of knowledge they can then apply in a meaningful way in practice. It is far easier for the musician of the 21st century to look back objectively at the developments of the Baroque period and to appreciate the prolific contributions of the musicians of the time. However, it is important to remember that the numerous examples, expositions and definitions left to us by the composers of the Baroque should be interpreted as guidelines, rather than rigid rules. It is of crucial importance that these guidelines - ornamentation and its conventions, articulation, variable rhythmic groupings, as well as a background knowledge of the composers and the repertoire - be subjected to an in-depth study. Subsequently, by cultivating an instinct for good taste and judgment, justice will be done to the music of the French Baroque. / AFRIKAANSE OPSOMMING: Blokfluit, as instrument, geniet 'n aktiewe belangstelling in Suid-Afrikaanse skole, tersiêre instansies asook in privaatonderrig. Ten spyte van hierdie belangstelling, word min onderwysers en studente aan goeie blokfluitspel en gespesialiseerde opleiding in die verskillende fasette rakende die vakgebied blootgestel. Die blokfluit het tydens die Baroktydperk sy grootste ontwikkeling en gewildheid beleef. Dit is tydens hierdie tydperk wat die meeste repertorium vir die instrument gekomponeer is; derhalwe is dit die musiek waaraan die blokfluitspeler die meeste blootgestel word. Die Franse Baroktydperk maak deel uit van hierdie tydgleuf en heelwat repertorium is geredelik beskikbaar en word deur spelers aangebied, hetsy as deel van 'n eksamenprogram of as 'n keuse vir byvoorbeeld 'n eisteddfod. Dit blyk egter dat 'n gebrek aan agtergrondkennis om werke uit hierdie tydperk op 'n histories ingeligte wyse uit te voer 'n probleem by Suid-Afrikaanse blokfluitonderwysers en - spelers te wees. Die rede hiervoor kan 'n gebrek aan blootstelling wees. Die leemte kan nie sonder meer oorbrug word as daar nie 'n doelbewuste poging deur die onderwysers en studente daartoe aangewend word nie. Hierdie studie se doel is om onderwysers en studente se entoesiasme aangaande Franse Barokmusiek aan te wakker en kennis daaroor te laat inwin ten einde dit in die praktyk sinvol te kan toepas. Die musikant van die een-en-twintigste eeu kan makliker objektief terugkyk na die ontwikkelinge wat tydens die Baroktydperk plaasgevind het as die musikant wat in die tyd geleef het. Die voorbeelde, uiteensettings en omskrywinge wat komponiste van daardie tyd nagelaat het, moet verkieslik as riglyne geïnterpreteer word, en nie as onbuigbare reëls nie. Dit is wel van uiterste belang dat hierdie riglyne - die versieringskuns, ornamentele gebruike, artikulasie, ongelykmatige ritmiese groeperings asook die agtergrondkennis rakende komponiste en repertorium - deeglik bestudeer word. Met die nodige kennis en blootstelling sal goeie oordeel by die uitvoer van die Franse 8arokmusiek sy beslag kry.

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Current musicological discourses in South Africa seldom engage with Afrikaans content and contributions, even though there is an acknowledged large body of writing on music in Afrikaans. These writings could significantly inform music and general historiographies in South Africa. This study discusses music-related articles in the following Afrikaans magazines and newspapers of the early twentieth century: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) and Die Transvaler (1937-1948). The subject matter of a large proportion of these music-related articles comprises the history of Western European music. This includes biographies of composers and histories of stylistic periods, genres and instruments. Despite the physical distance between Europe and Africa, Afrikaners‘ attraction to Europe borders at times on a feeling of belonging to this tradition. This cosmopolitan notion of belonging has received little attention compared to themes of race, language and nationalism in twentieth-century South African historiography. A neglected Afrikaans discourse on music, however, presents an opportunity to explore the possibilities of cosmopolitanism in a further interpretation of Afrikaner identity and understanding of South African history. It is for this reason that the current study is primarily concerned with tracing the role of musical discourse in Afrikaner society between 1910 and 1948 by investigating notions of cosmopolitanism. The two theoretical strands of cosmopolitanism that will guide this study concern the work of Friedrich Meinecke (an early twentieth-century German scholar), and Kwame Anthony Appiah (who is still active in the field of philosophy). Meinecke‘s work is mainly concerned with the role cosmopolitan values played in the development of the National State, with specific reference to Germany from the late eighteenth century to the late nineteenth century. What attracts Appiah to cosmopolitanism is the freedom it provides for the individual to create her own identity. To be a citizen of the world need not be a rootless existence, but allows anyone to be a patriot of the country of her own choice. Meinecke‘s and Appiah‘s theories of cosmopolitanism, and their different positioning of the intersecting points between the spheres of the individual, the nation and the globe, will provide two theoretical frameworks informing the present author‘s attempt to interpret some of the materials collated for this study. The present writer believes that cosmopolitanism will prove an appropriate theory to uncover some elements of Afrikaner identity that has hitherto been ignored. / AFRIKAANSE OPSOMMING: Ten spyte van die omvang van Afrikaanse tekste oor musiek is daar in die hedendaagse tyd min musiekwetenskaplike diskoerse in Suid-Afrika wat bemoeienis maak met inhoude en bydraes wat in Afrikaans gemaak is. Hierdie Afrikaanse tekste besit die potensiaal om nie net musiekhistoriografie nie, maar ook algemene historiografie in Suid-Afrika meer geskakeerd in te klee. Die studie handel oor die musiekartikels in die volgende Afrikaanse tydskrifte en dagblaaie van die vroeg twintigste eeu: Die Brandwag (1910-1921), Die Burger (1915-1948), Die Huisgenoot (1916-1948), Die Nuwe Brandwag (1929-1933), Die Brandwag (1937-1948) en Die Transvaler (1937-1948) 'n Groot gedeelte van hierdie musiekverwante artikels bespreek onderwerpe uit die geskiedenis van Wes-Europese kunsmusiek. Dit sluit onder meer in komponis-biografieë, sowel as geskiedenisse van stilistiese periodes, genres en instrumente. Die Afrikaner se belangstelling in Europa grens soms aan =n gevoel van Europese solidariteit, ten spyte van die fisieke afstand tussen Europa en Afrika. Hierdie kosmopolitiese denkwyse verdwyn dikwels op die agtergrond ten gunste van ander temas soos ras, taal en nasionalisme in twintigste eeuse Suid-Afrikaanse musiekhistoriografie. 'n Verwaarloosde Afrikaanse diskoers oor musiek bied 'n geleentheid om moontlikhede van kosmopolitisme te ondersoek in 'n verdere interpretasie van Afrikaner identiteit en Suid-Afrikaanse geskiedenis. Dit is om hierdie rede dat die huidige studie idees van kosmopolitisme wil ondersoek ten einde die rol van die musiekdiskoers in die Afrikaner gemeenskap tussen 1910 en 1948 te bepaal. Die huidige studie steun op twee teoretiese modelle van kosmopolitisme soos afgelei uit die werk van Friedriech Meinecke ('n Duitse geskiedkundige van die vroeg twintigste eeu) en Kwame Anthony Appiah (hedendaagse filosoof). Meinecke se werk fokus hoofsaaklik op die rol wat kosmopolitiese waardes gespeel het in die ontwikkeling van die nasie-staat, met spesifieke verwysing na Duitsland van die laat agtiende eeu tot die laat negentiende eeu. Wat Appiah aantrek tot die idee van kosmopolitisme is die vryheid wat dit aan die individu bied om haar eie identiteit te skep. Om 'n wêreldburger te wees dui nie noodwendig op 'n ongewortelde bestaan nie, maar laat enigeen toe om 'n patrioot te wees in die land van haar keuse. Meinecke en Appiah se teorieë van kosmopolitisme, hul onderskeie posisionerings van die individu, die nasie en die wêreld en die snypunte tussen hierdie sfere, bied twee teoretiese raamwerke vir die huidige skrywer se interpretasies van die materiaal wat vir hierdie studie versamel is. Die argument word gemaak dat kosmopolitisme 'n gepasde teorie bied om voorheen geïgnoreerde elemente van Afrikaner identiteit te ontbloot.