Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: African art music practices of western origin have oftentimes been excluded from general discourses on western art music practices. In this study, close readings of selected art songs by twentieth and twenty-first century Nigerian, Ghanaian, Egyptian and South African composers serve to ‘map’ this music through challenging existing general discourses on art music composition, and genre-specific discourses on art song composition in Africa. The readings also serve to create new discourses, including ones that promote African crossregional engagements. In the first part of this dissertation, the readings take place in the contexts of the selected countries. The second section presents pre-selected discourses and theories as points of departure. Chapter 2 proposes to question how the theory of African vocalism can be expanded, and how animist materialism could serve as an alternative context in which to read the composition of art music in Nigeria and Ghana. Chapter 3 aims to answer which strategies in anti-exotic self-representation have been followed in twentieth-century Egyptian art song. Chapter 4 asks how South African composers of art song have denoted ‘Africa’ in their works, and how these denotations relate to their oeuvres and general stylistic practices. Chapter 5 interrogates how composers have dealt with the requirements of tonal languages in their setting of texts in such languages to music. Chapter 6 probes possible interpretations of composers’ display of the ‘objects’ of cultural affiliation, positing expatriate African composers as diplomats. Chapter 7 asks what the contexts are in which to read specific examples of African intercultural art music, without which the analyst might make an inappropriate (perhaps unethical?) value judgement. The conclusion presents a comparison of trends and styles in African art song to those in certain western song traditions. A discussion on folk and popular song styles as art is followed by a consideration of African vocalism in the context of the dissertation as a whole. A continuation of an earlier discussion on the compositional denotation of ‘Africa’ leads to a consideration of the ‘duty to denote’ in the context of western modernity. / AFRIKAANSE OPSOMMING: Kunsmusiekpraktyke van westerse oorsprong in Afrika is gereeld van algemene diskoerse oor westerse kunsmusiekpraktyke uitgesluit. Stip-lesings van geselekteerde kunsliedere deur Nigeriese, Ghanese, Egiptiese en Suid-Afrikaanse komponiste dien in hierdie studie om die musiek op die ‘kaart te plaas’ deur in gesprek te tree met bestaande algemene diskoerse oor kunsmusiekkomposisie, asook genre-spesifieke diskoerse oor kunsliedkomposisie in Afrika. Die lesings dien ook om nuwe diskoerse te skep, insluitend diskoerse wat gesprekke óór die grense van verskillende streke in Afrika bevorder. Die lesings in die eerste helfde van die proefskrif vind plaas binne die kontekste van die geselekteerde lande. In die tweede deel word vooraf-geselekteerde diskoerse en teorieë as wegspringpunte gebruik. Hoofstuk 2 stel dit ten doel om te vra hoe die teorie van Afrikavokalisme (African vocalism) uitgebrei kan word, en hoe animistiese realisering (animist materialism) as alternatiewe konteks kan dien waarin die komposisie van kunsmusiek in Nigerië en Ghana gelees kan word. In Hoofstuk 3 word gepoog om uit te vind watter strategieë in anti-eksotiese self-uitbeelding gevolg is in twintigste-eeuse Egiptiese kunsliedkomposisie. Die doel van Hoofstuk 5 is om uit te vind hoe komponiste die vereistes van toontale in hul toonsettings van tekste in sulke tale hanteer het. Hoofstuk 6 ondersoek moontlike interpretasies van komponiste se aanbiedings van die ‘objekte’ van kultuuraffiliasie deur die postulering van geëmigreerde komponiste as diplomate. Hoofstuk 7 vra wat die kontekste is waarin spesifieke voorbeelde van interkulturele kunsmusiek uit Afrika gelees kan word, waarsonder die analis ‘n onvanpaste (dalk onetiese?) waardebeoordeling kan maak. Die slot bied ’n vergelyking van tendense en style in Afrika-kunsliedere met dié in sekere westerse liedtradisies aan. ’n Bespreking van volks- en populêre liedstyle as kuns word gevolg deur ’n oorweging van Afrika-vokalisme in die konteks van die proefskrif as geheel. ‘n Voortsetting van ’n vroeëre gesprek oor die komposisionele uitbeelding van ‘Afrika’ lei tot ‘n oorweging van die ‘plig om uit te beeld’ in die konteks van westerse moderniteit.

Thesis (MMus (Music))--Stellenbosch University, 2008. / This study consists of two parts. The first part focuses primarily on literature that discusses the biography in general, and then turns its focus more sharply on the music biography. A critical reading of three South African music biographies is conducted in order to identify tendencies or patterns in the biographical writing of musicians, especially performers. The second part of this thesis consists of a biographical case study of Pack. This particular biography makes no claim that it will not be faced with the same problems illustrated in the general discussion on biography as a discipline, but rather through the established critical frame claims to qualify and critically elucidate the biographical writing pertaining to Pack. This case study will underline one of the defining elements in the writing of lives of those figures who are considered less important, namely the limited resource material that tend to replicate the themes and stereotypes inherent in biographical writing. This practical problem causes an inevitable repetition of the intellectual difficulties of biographical writing. The purpose of this biography, which is the combination of different source materials and, is not necessarily to avoid these “myths”, but to identify it by critical reflection. With this approach, it is not the biography itself that becomes “critical”, but rather the reading and comprehension of the biography. Finally, the conclusion is reached that Betty Pack’s life as committed to paper and memory displays various themes and topoi characteristic of the music biography in general, rather than just the biographies of performers. The conventions of music biography, as consolidated in the biographical descriptions of composers, thus still provide the norms and forms for the biography of the performing artist.

Thesis (M.Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Sound sample libraries represent the format in which huge collections of sampled sounds are made available for use within digital samplers and/or other digital audio workstations (DAW’s). Although in use for many years, little or no academic research has been done on the methodology of compiling a commercial sound sample library. In this endeavour, the factors influencing the design, recording and publishing of a sound sample library are investigated through the actual design of a drum sample library. The rationale behind the sampling of a drum kit is carefully depicted in the light of various other factors influencing the instrument, as well as being influenced by the instrument itself. A professional drummer was engaged to play a state-of-the art Gretsch acoustic drum kit. Samples of the kit, consisting of various individual instrument parts, were recorded in three locations within the Konservatorium of Stellenbosch University, for reasons carefully explained in the text. These numerous drum hits were mixed and cut into individual drum samples. The samples were mapped into a digital software sampler, GigaStudio, creating five distinct collections of drum samples that faithfully represent the quality of the drum kit, the recording rooms as well as the equipment used in the process. The outcome of the study is a professional product in the form of a Gretsch drum sample collection, prepared for commercial release. Many of the drum samples have already been used successfully in commercial music releases over the past 12 months. Whilst the drum sample library is currently being published, the product and documentation clearly depict the viability of the study in terms of the artistic and academic expectations that have been met. The study anticipates future research on the subject. / AFRIKAANSE OPSOMMING: Klankbiblioteke heet die formaat waarin versamelings van klankmonsters beskikbaar gestel word vir gebruik in digitale samplers1 en/of ander digitale klankprogrammatuur. Nieteenstaande die feit dat klankbiblioteke reeds jare in gebruik is, is geen studie waarin die ontwerp en saamstel van so ‘n biblioteek beskryf word, bekend nie. In hierdie navorsingsprojek word die faktore wat die ontwerp, opneem en vrystelling van ‘n klankbiblioteek beïnvloed bestudeer deur die skep van so ‘n biblioteek. Die oorwegings vir die keuse van ‘n tromstel is noukeurig uiteengesit in die lig van die faktore wat betrekking het tot, en wederkerig beïnvloed is deur die instrument en opname-omgewing. ‘n Professionele tromspeler is vir die projekdoeleindes gekontrakteer om ‘n Gretsch akoestiese tromstel te speel. Klankmonsters van die tromstel se individuele komponente is in drie lokale binne die Konservatorium van die Universiteit van Stellenbosch opgeneem, met redes soos uiteengestip in die teks. Klankopnames van die talle tromslae is gemeng en opgesny in individuele klankmonsters. Laasgenoemde is in GigaStudio, ‘n digitale sagteware sampler, gekarteer sodat vyf duidelik-onderskeibare klankveramelings geskep is. Hierdie versamelings lig die kwaliteit van die tromstel asook die verskeie opnamelokale en toerusting wat gebruik is duidelik uit. Die resultaat van die studie is ‘n professionele produk in die vorm van ‘n Gretsch kommersiële klankbiblioteek, waarvan verskeie klankmonsters reeds oor die afgelope 12 maande in plaaslike musiekvrystellings gebruik is. Hoewel die klankbiblioteek huidiglik vrygestel word, toon die produk en dokumentasie duidelik die artistiese en tegniese waardigheid van die studie. Die studie antisipeer toekomstige navorsings-moontlikhede wat uit die onderwerp mag voortspruit.

Thesis (M. Mus.)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. Du Toit sang in forty-five opera seasons for the Provincial Arts Councils in the seventeen years between 1963 and 1979, when her opera career ended. In 1986 she returned to the opera stage as the Marschallin in Der Rosenkavalier by Richard Strauss. This was also her final farewell as opera singer. The title role in Madama Butterfly can be regarded as her hallmark. Her stunning portrayal of Lucia in Lucia di Lammermoor was regarded as a mile stone in South African opera history, as was her interpretation of Jenůfa. She was also hailed as a Mozart singer. Not only was she regarded as one of the world’s best “Butterflies” at the International Madame Butterfly Competition in Japan in 1970, but has she also been awarded three Nederburg Opera Prizes. Apart from opera, Du Toit gave numerous recitals of classical and light classical music, regularly sang in orchestral concerts and oratorio and was active as broadcasting artist. Her work as voice teacher always ran parallel to her singing activities. Her academic career at the Universities at Stellenbosch and Cape Town spanned fourteen years: from 1980 to 1993. Nellie du Toit’s achievements in music were laureated with the Medal of Honour from the Academy of Arts and Sciences in 1986 and an Honorary Doctorate from the University of Stellenbosch in 1998. / AFRIKAANSE OPSOMMING: Wie is Nellie du Toit en wat is die omvang van haar loopbaan as sangeres en sangpedagoog? Die leemte in Suid-Afrikaanse historiografie met betrekking tot die lewe en werk van Suid- Afrikaanse uitvoerende kunstenaars het aanleiding gegee tot hierdie ondersoek na die loopbaan van Nellie du Toit. Bekend as een van Suid Afrika se vermaarde operasangeresse van die 1960’s en 1970’s wat haar loopbaan eksklusief in Suid-Afrika gemaak het, word sy ook beskou as een van die mees gesogte sangpedagoë. Haar loopbaan as uitvoerende kunstenaar het oor byna drie dekades gestrek. Haar loopbaan as sangpedagoog, ná meer as veertig jaar, gaan steeds voort. Hierdie studie ondersoek haar lewe en loopbaan chronologies, beginnende met haar jeugjare in ʼn baie musikale gesin. Haar voltydse musiekstudies aan die Suid-Afrikaanse Musiekkollege in Kaapstad het van 1950 tot 1952 geduur. Hier het Madame Adelheid Armhold, haar sangpedagoog, en Gregorio Fiasconaro, hoof van die Operaskool, ʼn stewige fondament vir haar loopbaan gelê. Na ʼn tydperk van meer as ʼn jaar in Engeland, het Nellie du Toit een van die jong Suid-Afrikaanse sangers geword wat operabaanbrekerswerk in Suid-Afrika gedoen het. Du Toit het in vyf-en-veertig operaseisoene vir die Uitvoerende Kunsterade gesing in die sewentien jaar tussen 1963 en 1979, die jaar waarin haar operaloopbaan tot ʼn einde gekom het. In 1986 het sy na die operaverhoog teruggekeer in die rol van die Marschallin in Der Rosenkavalier van Richard Strauss. Dit was ook haar finale vaarwel as operasangeres. Die titelrol in Madama Butterfly kan as Du Toit se kenteken beskou word. Haar merkwaardige uitbeelding van Lucia in Lucia di Lammermoor is beskou as ʼn mylpaal in die Suid-Afrikaanse operageskiedenis. Dit geld ook vir haar vertolking van Jenůfa. Sy was ook hoog aangeskryf as Mozart-sangeres. Nellie du Toit is as een van die wêreld se beste “Butterflies” aangewys tydens die Internasionale Madame Butterfly Kompetisie in Japan in 1970. Daarbenewens het sy in Suid-Afrika drie Nederburg Operapryse ingepalm. Afgesien van opera het Nellie du Toit talryke uitvoerings van klassieke en ligte klassieke musiek gegee en gereeld in orkeskonserte, oratoria en as uitsaaikunstenaar opgetree. Naas haar loopbaan as uitvoerder het haar aktiwiteite as sangpedagoog byna ononderbroke voortgegaan. Haar akademiese loopbaan aan die Universiteite van Stellenbosch en Kaapstad het oor veertien jaar gestrek: van 1980 tot 1993. Nellie du Toit se prestasies in musiek is bekroon met die Erepenning van die Akademie vir Wetenskap en Kuns in 1986 en ʼn eredoktorsgraad van die Universiteit van Stellenbosch in 1998.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The relationship between music and mathematics has been subjected to debate for centuries. There are two schools of thought with the one viewpoint holding that the relationship between mathematics, which is conceived as an abstract and cold discipline, compared to music, which is rich with emotion, must be very limited. Arguments for this view draws, for example, on recent research which indicates that musical talent is not inherently linked to mathematical capability. On the other pole of the debate is the belief that although music and mathematics contribute to different parts of society, there is a very important inter-relationship between the two fields. Of great interest to the latter is the Greek composer Iannis Xenakis whose musical aesthetics incorporates this philosophy. As composer, Xenakis used mathematical theories as basis for his musical works. He not only incorporated well known mathematical principles such as the Golden Section into his compositions but went further and, for instance, utilized Boolean Algebra, Probability theory and Stochastic processes in his music. His composition method based on these mathematical principles became known under the term Stochastic music and forms the focus of this thesis. The research project concentrates on the early part of Xenakis’ life in order to provide insight into the development of his composition methods. The mathematical principles at the centre of his stochastic compositions receive specific rationalisation. In doing so, the most significant probability distributions (Linear, Exponential, Poisson and Normal distribution) are defined in terms of their properties and Xenakis’ use of them. The application of these distributions is considered by looking at the early works Metastaseis (in which Xenakis confronted most of his musical problems and which formed the basis for his musical style) and Achorripsis (where he fully developed their implementation). An in-depth examination of the construction of Achorripsis is performed while scrutinizing Xenakis’ calculations. Specific attention is drawn to alterations and adjustments made to the calculations. His implementation of them into the final score is furthermore examined and it is shown where he deviated between the calculations and score. The thesis concludes by considering the extent and significance of the adjustments made by the composer in the name of artistic freedom.

Thesis (M. Phil.)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The field of gesture based research and the interaction between human and computer with the focus falling on musical applications, is well established internationally. However, in South Africa, research in this field appears dormant. The reasons for this state of affairs are complex and can be argued from different angles covering socio-economical, philosophical and educational perspectives. This document describes the design, creation and implementation of an operational gesture interface environment which holds the potential to be expanded in the future. The implementation draws on cost-efficient hard- and software in the design of elementary to more advanced musical and even non-musical virtual environments (VEs) harbouring potential for further research and performance. Hard- and software available at Stellenbosch University’s Konservatorium were used together with selected free downloadable software from the internet in creating VEs, which to a degree simulate other techniques of sound manipulation. The choice of software was guided by the availability of support and prominence in terms of usage. Software basically had to incorporate hand movement tracking and the mapping of data to manipulate several parameters. Three independent systems, each representing a different VE, were studied, experimented with and programmed in order to validate the thesis. The first system manipulates a complete electronic musical instrument. The second system incorporates the simulation of a real-life musical performance and the third system focuses on manipulating specific sequencing software by a basic alternative computer mouse implementation. The outcome of this thesis provides an environment within which several programming techniques are treated and combined to form a template for teaching this field, and future development and research. These techniques incorporate the manipulation of digital audio, deal with a digital communication protocol, basic computer graphics and other necessary programming algorithms. In addition, the thesis strives to provide an outline for the understanding, design and implementation of a VE installation. The three systems will be installed for operation during a presentation of this thesis. Together with the three operative systems, this document strives to act as an initial platform from which exciting futuristic research and activity can be launched. / AFRIKAANSE OPSOMMING: Die gebied van beweging gebaseerde navorsing en die interaksie tussen mens en rekenaar waar die fokus op musikale toepassings val, is internasionaal stewig gevestig. In Suid-Afrika egter, blyk navorsing op hierdie gebied sluimerend te wees. Die redes vir hierdie stand van sake is kompleks en kan vanuit verskillende hoeke wat sosio-ekonomiese, filosofiese en opvoedkundige perspektiewe insluit, beredeneer word. Hierdie dokument beskryf die ontwerp, skep en implementering van ‘n operasionele bewegings koppelvlak omgewing met potensiaal tot uitbreiding. Die implementering baseer op kosteeffektiewe hardeware en programmatuur in die ontwerp van eenvoudige tot gevorderde virtuele omgewings (VOs) vir musiek, en selfs nie-musikale dissiplines met die potensiaal tot verdere navorsing en implementering binne die musikale uitvoeringspraktyk. Hardeware en programmatuur beskikbaar aan die Konservatorium is gebruik tesame met ‘n seleksie van gratis programmatuur op die internet beskikbaar om VOs wat ander klankmanipulerings tegnieke simuleer, te skep. Die keuse van programmatuur is gelei deur die beskikbaarheid van ondersteuning en gewildheid en inkorpeer die volg van hand beweging asook die verspreiding van data om verskeie parameters te manipuleer. Drie onafhanklike sisteme wat elk ‘n ander VO voorstel, is bestudeer, mee ge-ekperimenteer en geprogrammeer om die tesis te valideer. Die eerste sisteem manipuleer ‘n volledige elektroniese musiekinstrument. Die tweede sisteem inkorporeer die simulasie van ‘n werklike musikale uitvoering en die derde sisteem fokus op die manipulasie van spesifieke sequencing programmatuur sonder die hulp van ‘n muis. Die uitkoms van hierdie tesis verskaf ‘n omgewing waarbinne heelparty programmerings tegnieke bespreek en gekombineer word in ‘n aanpasbare templaat vir die onderrig van hierdie veld asook toekomstige ontwikkeling en navorsing. Hierdie tegnieke inkorporeer die manipulasie van digitale klank, die omgang met ‘n digitale kommunikasie protokol, basiese rekenaargrafika en verdere noodsaaklike programmerings algoritmes. Verder streef die tesis daarna om ‘n raamwerk vir die begrip, ontwerp en implementering van ‘n VO daar te stel. Die drie sisteme wat in hierdie tesis bespreek word, sal operasioneel geïnstalleer word gedurende ‘n demonstrasie daarvan. Saam met die drie werkende sisteme streef hierdie dokument daarna om te dien as platform waarvan af opwindende futuristiese navorsing en aktiwiteite geïniseer kan word.

Thesis (M.Sc.)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: Current technological development has a strong impact on education. Students normally have free access to computers and the internet. Computer-based instruction is more frequently available in classrooms and reinforces the traditional educational systems. The purpose of this study was to determine whether a computer-based program, Auralia 2.1, can be used effectively in the Music Certificate Course of the University Stellenbosch. Due to limited time during lessons as well as time-constraints for individual practising by the students, the researcher investigated the efficacy of Auralia 2.1 for use in the classroom. Students are able to practise individually during lessons as well as on their own. The problem to find a peer to practise aural training is therefore avoided as the computer fulfills this function. The researcher administered Auralia 2.1 on a group of eight Certificate students from the University Stellenbosch. The evaluation period consisted of two semesters of fourteen weeks each. The researcher used the traditional method of aural training in the first semester and she used Auralia 2.1-sessions in the second semester. The researcher compared the two semesters to each other to ensure the integrity of the results of the research. The researcher systematically held record of observations as well as the progress of the students. Questionnaires were completed and interviews were held as part of the evaluation process. Suggestions are made in this thesis on how Auralia 2.1 can be used effectively for educational aims. / AFRIKAANSE OPSOMMING: Die hedendaagse ontwikkeling in tegnologie het ‘n sterk invloed op opvoeding. Studente het oor die algemeen vrye toegang tot rekenaars en die internet. Rekenaargesteunde onderrig kom toenemend in klaskamers voor en word ter versterking van die tradisionele onderwysstelsel gebruik. Die doelstelling van hierdie navorsing was om te bepaal of ‘n rekenaargesteunde onderrigprogram, naamlik Auralia 2.1, effektief benut kan word in die musiekoorbruggingsprogram (Sertifikaatkursus) van die Universiteit Stellenbosch. Weens beperkte klastyd en ‘n gebrek by Sertifikaatstudente aan noodsaaklike tyd vir gehooropleidingsoefeninge, het die navorser ondersoek ingestel na die effektiwiteit van Auralia 2.1, vir gebruik in die klas. Die studente kon met behulp van die rekenaar individueel tydens asook buite klastyd oefen. Probleme om ‘n “oefenmaat” vir gehoor te vind is dus uitgeskakel aangesien die rekenaar daardie funksie vervul het. Die navorser het die program Auralia 2.1 op ‘n groep van agt Sertifikaatstudente van die Universiteit Stellenbosch toegepas. Die evaluering het oor twee semesters van veertien weke elk gestrek. Die navorser het in die eerste semester ‘n tradisionele metode van gehooropleiding gevolg en in die tweede semester het sy gebruik gemaak van Auralia 2.1-sessies. Die navorser het die twee semesters met mekaar vergelyk om sodoende die integriteit van die navorsingsresultate te verseker. Daar is tydens die navorser se studie sistematies verslag van die waarnemings en die studente se vordering gehou. Vraelyste is voltooi en onderhoude gevoer as deel van die evalueringsproses. In hierdie tesis word daar ook voorstelle gemaak oor hoe Auralia 2.1 effektief gebruik kan word vir opvoedkundige doeleindes.

Thesis (MPhil)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The South African Department of Education (DoE) recently introduced a new curriculum for schools. This curriculum, namely Curriculum 2005 (C2005), and later revised as the National Curriculum Statement (NCS), is functional at a national level in South Africa and claims to be a more equitable curriculum than its predecessor by incorporating a philosophy that accommodates all South African learners from diverse cultural and ethnic backgrounds. C2005 (NCS) promotes the principles of outcomes-based education (OBE) and shows a high regard for the Constructivist Learning Theory. In 2006 teachers will be expected to implement the Further Education and Training (FET) Band of the NCS. This study critically investigates C2005 (NCS) with the view to an improved understanding of multicultural education. The focus then turns towards music education by reviewing suggested teaching practices for multicultural music education. Following this is a thorough exploration of several approaches for the teaching of music from diverse cultures with an examination of the various appropriate models for music teaching. However, certain issues arise within the South African context as to whether music teachers have had the necessary preparation for the effective implementation of the prescribed music syllabus of the FET band. The prescribed music syllabus of the FET band includes a variety of musical genres and styles. This analysis culminates in a reflection on African music, which includes an investigation of how African music functions within traditional African societies and an approach for the effective transmission of African music in schools is proposed. Also, arising from numerous reviews concerning the teaching of African music, are opposing convictions that afford the reader an opportunity for creative thought. The lack of adequate didactical resources for the teaching of African music has resulted in a keen interest by the author in employing technology for instructional purposes. This study concludes by exploring recommendations concerning the design of an effective instructional programme that relies on technology and discusses the development of an appropriate technological resource for the teaching of African music. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse Onderwys Departement het onlangs ‘n nuwe kurrikulum aan skole bekendgestel. Hierdie kurrikulum, naamlik Kurrikulum 2005 (K2005), en later die Nasionale Kurrikulum Verklaring (NKV), is van toepassing op nasionale vlak in Suid-Afrika en maak daarop aanspraak om ‘n meer regverdige kurrikulum as sy voorganger te wees deur ‘n filosofie te bevat wat alle Suid-Afrikaanse leerders uit verskillende kulturele en etniese agtergronde akkommodeer. K2005 (NKV) bevorder die beginsels van Uitkoms Gebaseerde Onderwys (UGO) en vertoon ‘n hoë affiniteit vir die Konstruktiewe Leerteorie. Dit sal van onderwysers verwag word om in 2006 die Verdere Onderwys- en Onderrigband van die NKV te implementeer. Hierdie tesis ondersoek K2005 (NKV) krities met die oog op ‘n verbeterde begrip vir multikulturele onderwys. Die fokus skuif dan na musiekopvoeding met ‘n oorsig oor voorgestelde onderwyspraktyke vir multikulturele musiekopvoeding. ‘n Deeglike bespreking van verskeie benaderings vir die onderrig van musiek van verskeie kulture volg dan, asook ‘n ondersoek oor verskillende toepaslike modelle vir musiekonderrig. Sekere kwessies ontstaan egter binne die Suid- Afrikaanse konteks waarby daar gevra word of musiekonderwysers oor die nodige voorbereiding vir die effektiewe implementering van die voorgeskrewe musiekkurrikulum van die VOO-band beskik. Die voorgeskrewe musiekkurrikulum van die VOO-band sluit ‘n verskeidenheid musiekgenres en -style in. Hierdie analise word gevolg deur nadenke oor Afrika musiek, wat ’n ondersoek insluit na die wyse waarop Afrika-musiek binne die tradisionele Afrika-gemeenskap funksioneer. Voorstelle vir die benadering van Afrika-musiek in skole word gemaak sodat die effektiewe oordrag van Afrikamusiek verseker sal word. In hierdie bespreking word teenstrydige opinies wat na vore kom in die talle oorsigte oor die onderrig van Afrika-musiek, voorgehou. Dit bied die leser ‘n geleentheid tot kreatiewe denke. Die gebrek aan geskikte didaktiese bronne vir die onderrig van Afrika-musiek het gelei tot ‘n groot belangstelling by die navorser oor die gebruik van tegnologie vir onderrigdoeleindes. Hierdie studie sluit af met ‘n ondersoek na die ontwerp van ‘n effektiewe onderrigprogram wat op tegnologie gebaseer is, en met ‘n bespreking van die ontwikkeling van ‘n geskikte tegnologiese bron vir die onderrig van Afrika-musiek.

Thesis (MMus (Music))--University of Stellenbosch, 2008. / This thesis provides an overview of different aspects of the application of vibrato on the flute. Although it is a compilation of different viewpoints, it does not offer a conclusion as regards the ‘correct’ application of vibrato, due to the subjective nature of this phenomenon. The intention is that the reader will be able to reach his or her own conclusions and form new opinions regarding this subject. The focus is largely on the comparison of the production of vibrato on the flute with its production on other instruments. The aim is to examine the different choices involved in the production of vibrato when the flute is part of an ensemble and when it is a solo instrument. By learning more about other instruments’ timbres and production of vibrato, it enables flautists to adapt to different timbres in order to form sonorous ensembles. The physiological and scientific aspects of vibrato are also explored with the view to equip flautists with this knowledge. Thus, flautists will be able to listen to and analyse from a more critical and informed perspective how they themselves use vibrato and how other flautists use it. The main goal of this thesis is to provide enough information, opinions, studies and statistics to enable a flautist to make an informed decision concerning their choice and application of vibrato.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these. / AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.