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Aanvangsonderrig in klavier : ‘n situasie-analise en riglyne vir ondergekwalifiseerde musiekonderwysers in die Suid-Afrikaanse konteksHenn, Wilana 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2006. / The piano teacher faces an enormous task as educator in initial educational practice. The child must receive clear directives in terms of piano technique, sight reading skills, aural training, music theory and general music history. These aspects are accepted as providing the basic principles for effective tuition for beginners. Efficient guidance can be delivered only when the piano teacher has the necessary knowledge. In this study piano teachers who lack sufficient experience, knowledge and insight in the relevant knowledge, especially concerning piano technique, are considered to be underqualified.
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Vladimir's Round Table by Stefans Grove : transcription for Two PianosHollins, Brendan Vincent 03 1900 (has links)
Thesis (MMus (Performance)--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The work represented here is a transcription for two pianos of Vladimir’s Round
Table, a relatively unknown, large-scale orchestral work by Stefans Grove.
This particular transcription involved an intensive study of the orchestral score in
order to best reproduce the work in the most effective way possible for two
pianos, as well as to create a sound and convincing work for the two-piano
repertoire.
The process involved academic as well as pianistic substantiations regarding the
inclusion or exclusion of various elements of the orchestral score. It is my hope
that the final product is a good representation of a work supported by academic
research but not so much as to exclude the possibility of freedom of performance.
The ultimate aim of this transcription is to hopefully re-ignite interest in the work
as well as to expose it to a wider audience and, in turn, encourage performance of
the work in its original form. / AFRIKAANSE OPSOMMING: Die werk wat hiermee voorgelê word, is 'n transkripsie vir twee klaviere van
Stefans Grové se minder-bekende orkeswerk, Wladimir se Tafelronde (die
Afrikaanse titel wat op die titelblad van die manuskrip verskyn).
Die transkripsie het 'n deeglike studie van die orkespartituur behels om sodoende
die werk ten beste in die klavier-duo genre weer te gee, en om n oortuigende dog
bruikbare werk vir hierdie tipe repertorium te skep.
Ten einde die insluiting of weglating van bepaalde elemente van die
orkespartituur teen mekaar op te weeg, is die proses deur sowel akademiese- en
pianistiese oorwegings ingegee.
Ek hoop dat die finale produk verteenwoordigend is van n transkripsie wat deur
n akademiese ondersoek ondersteun is, terwyl dit ruimte laat vir praktiese
oorwegings wat met die uitvoeringsmoontlikhede en -beperkinginge van die
klavier-duo weergawe ter sprake kom.
Die hoofdoel met die transkripsie is om hopenlik hernude belangstelling in Grove
se orkeswerkte te wek; om dit aan 'n wyer publiek bekend te stel, en op sy beurt
uitvoerings van die werk in sy oorspronklike gedaante aan te moedig.
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Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of StellenboschDaniels, Delia Josianne 12 1900 (has links)
Thesis (MMus) -- Stellenbosch University, 2002. / ENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the
University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and
the Introductory Programme in Music. The BMus Foundation Programme aims to reach
students who intend doing the BMus Programme but do not meet the required standard
for the BMus Programme at the time of enrolment. On the successful completion of the
BMus Foundation Programme, these students can then be promoted to the BMus
Programme. The Introductory Programme in Music concentrates on students who have
had little or no prior formal theoretical or practical training in music. These students aim
to obtain, an understanding of the fundamentals off'music within the minimum period of
one academic year.
The Introductory Programme in Music is dual-functional:
Students can terminate their studies on completion of the course
or
11 Students who wish to continue their studies in music can enrol for the
BMus Foundation Programme on completion of the Introductory
Programme in Music.
The Introductory Programme in Music. consists of the following modules: Music Skills
171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical
Music Studies: Preparatory 171 module concentrates on teaching students the basic
practical skills required to play an instrument. The student decides which instrument
he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical
Piano Study 171 throughout the thesis. At the completion of the Introductory Programme
in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano
Study 171.
In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically
investigated. This investigation includes the following: the forms of tuition offered, that
is, group and individual tuition, the curriculum material that is used and the curriculum
itself Furthermore, the psychological, physiological and mental make-up of the student
enrolling for this course in general will be discussed. In this instance, the umbrella term
"adult" is used. Attention is also given to teaching aids that can assist in piano and
electronic keyboard instruction. A demonstration video is included with the thesis in
order to illustrate its potential as a teaching aid. Suggestions based on the conclusions
drawn from this research are given for the improvement of Practical Piano Study 171. / AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999
twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend)
asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik
na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die
vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van
die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die
Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of
praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip
van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar
te bekom.
Die Inleidende Program in Musiek het 'n tweeledige funksie:
Die student kan die kursus teen die einde van die akademiese jaar
voltooi
of
11 Studente wat na voltooiing van die Inleidende Program in Musiek
graag met hul studies in musiek wil voortgaan, kan vir die BMus
Basisprogram inskryf
Die Inleidende Program III Musiek bestaan uit die volgende modules:
Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend
171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer.
Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op
klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend
171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171.
Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad
3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het.
Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in
hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop
onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre
inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene
psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf,
bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik.
Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese
klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit
om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die
Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek
gebaseer is, word ter afronding aan die hand gedoen.
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Die aanwending van groepsmusiekaktiwiteite in die ontwerp en implementering van 'n klavierkurrikulum vir Suid-Afrikaanse laerskoleSimons, Jacqueline 12 1900 (has links)
Thesis (MMus) -- University of Stellenbosch, 2005. / ENGLISH ABSTRACT: South African education is currently moving in a new direction that is aimed at
representing all the cultures of the country. Music education is grouped as part of the
Arts and Culture learning area of Curriculum 2005 and the implication is that
instrumental music teaching is being marginalized at the expense of general music
teaching. In the past these two were regarded as separate subjects that each had its own
dedicated syllabus. This thesis is geared toward the preservation of instrumental music
teaching (in this case piano) as part of the Arts and Culture learning area of Curriculum
2005 by means of a complementary teaching program whereby general music teaching
and instrumental music teaching can be taught in conjunction with each other. This
approach is based on Gane (1996) who suggests activities and approaches to music
education that can support the co-operation between these two areas of music teaching.
This thesis is an exploratory study to determine if co-operation between prescribed music
curricula and the suggestions for music activities and approaches as proposed by Gane
(1996), have the potential to bridge the gap between general music teaching and
instrumental music teaching. At the onset of this study it was not to test a predetermined
hypothesis, but rather to establish the possibility of a complementary teaching model for
music teaching. This research project was done according to the qualitative research
methodology as it was done it was done in a social setting. This research project was
done over a period of six months with a group of ten learners whose progress ranged
from beginner to grade 2 level. A variety of music compositions was selected and
applied in the practice of the music lesson to demonstrate the application of the music
activities as suggested by Gane (1996). The ultimate goal of the use of the music
compositions was to indicate how prescribed and additional music can be explored to
optimize the learners' knowledge from the two fields of music learning. The following
syllabi were used for this thesis: the British National Curriculum (1995), as well as these
South African syllabi: Curriculum for Extra-Curricular Music - piano (1993), the Interim
Syllabus for Classmusic (1995), and Curriculum 2005 (1997). The reasons for the focus
on these specific syllabi in this research project are as follows: firstly the British National Curriculum serves as framework for Gane's (1996) article "Instrumental performance and
the National Curriculum: a possible partnership?" and this forms the foundation for this
thesis; secondly the Curriculum for Extra-Curricular music (piano) deals with
instrumental music teaching and the Interim Syllabus for Classmusic deals with general
music teaching and these are the two aspects of music teaching in South Africa which
this thesis aim to bring together; and lastly the Curriculum 2005 (1997) is the curriculum
whereby education is currently being practiced in South Africa.
The most important finding of this study is that the proposed teaching method is
workable for music education if certain conditions as is discussed in chapter 4 are in
place. It has also been found that because this is an exploratory study, there is room for
more empirical research in this regard. In conclusion it can be said that since this study
revealed the possibility for an exploratory teaching method for music teaching, this
teaching method does have merit. / AFRIKAANSE OPSOMMING: In Suid-Afrika is opvoeding tans besig om in 'n nuwe rigting te beweeg wat daarop
gemik is om verteenwoordigend van al die land se kulture te wees. Musiekopvoeding
word as deel van Kurrikulum 2005 se Kuns en Kultuur leerarea gegroepeer en die
implikasie is dat instrumentale musiekonderrig ten koste van algemene musiekonderrig
ter syde gestel word waar dit voorheen as aparte vakke geag was wat elk volgens 'n
afsonderlike sillabus onderrig was. Hierdie tesis poog vir die behoud van instrumentale
musiekonderrig (in hierdie geval klavier) as deel van Kurrikulum 2005 se Kuns en
Kultuur leerarea by wyse van 'n komplementêre onderrigprogram waarbyalgemene
musiekonderrig en instrumentale musiekonderrig in wisselwerking met mekaar onderrig
kan word. Hierdie benadering word op Gane (1996) se voorstelle vir aktiwiteite en
benaderings tot musiekonderrig gebaseer aangesien hierdie skrywer ook 'n samewerking
tussen die twee areas van musiekonderrig beywer.
Hierdie tesis is 'n verkenningstudie om te bepaal of voorgeskrewe musiekkurrikula in
samewerking met Gane (1996) se voorstelle vir aktiwiteite en benaderings tot
musiekonderrig toegepas kan word om die oorbrugging tussen algemene musiekonderrig
en instrumentale musiekonderrig, wat as twee aparte afdelings van musiekonderrig
beskou word, te bewerkstellig. Die aanvang van hierdie tesis was nie om 'n
voorafbebaalde hipotese te toets me, maar eerder om die moontlikheid van 'n
komplementêre onderrigmodel vir musiekonderrig te bepaal. Die studie is volgens die
kwalitatiewe navorsingsmetode gedoen aangesien dit in 'n sosiale opset plaasgevind het.
Hierdie navorsingsprojek is oor 'n tydperk van ses maande en met 'n groep van tien
leerders gedoen wie se vorderingstadia van beginner tot graad twee strek. Verskeie
komposisies is geselekteer en in die musieklespraktyk uitgetoets wat daarop gemik is om
algemene musiekonderrig by instrumentale musiekonderrig te laat aansluit, ter illustrasie
van Gane (1996) se voorgestelde raamwerk vir musiekonderrig. Die uiteindelike doel
met die gebruik van die gekose repertorium is om aan te dui hoe voorgeskrewe en
aanvullende onderrigmateriaalontgin kan word om leerders se kennis vanuit die twee onderrigvelde bymekaar te bring en aan te vul. Die volgende sillabusse is in hierdie tesis
uiteengesit: Die British National Curriculum (1995) en ook verskeie Suid-Afrikaanse
kurrikula - dit wil sê die Kurrikulum vir Buitekurrikulêre musiek (klavier) (1993), die
Tussentydse sillabus vir Klasmusiek (1995) en Kurrikulum 2005 (1997). Die redes
waarom die voorafgenoemde sillabusse in die navorsingsprojek ingesluit is, is soos volg:
eerstens dien die British National Curriculum as raamwerk vir Gane (1996) se artikel
"Instrumental performance and the National Curriculum: a possible partnership?" en dit
is waarvolgens hierdie tesis geformuleer is; tweedens handel die Kurrikulum vir
Buitekurrikulêre musiek (klavier) oor instrumentale musiekonderrig en die Tussentydse
sillabus vir Klasmusiek oor algemene musiekonderrig - hierdie twee onderrigvelde is juis
die twee aspekte van Suid-Afrkaanse musiekonderrig wat hierdie tesis poog om by
mekaar te laat aansluit; en laastens word Kurrikulum 2005 ingesluit omdat dit die
onderrigprogram is waarvolgens opvoeding tans in Suid-Afrika gepraktiseer word.
Die belangrikste bevinding van hierdie studie is dat hierdie voorgestelde onderrigmetode
vir musiek werkbaar is indien daar sekere voorwaardes soos in hoofstuk 4 bespreek, in
plek is. Ter afsluiting is daar ook bevind dat aangesien hierdie tesis as 'n
verkenningsstudie gedoen was, daar ruimte vir meer empiriese navorsing in hierdie
verband is. Die gevolgtrekking is dat aangesien hierdie studie die moontlikheid vir 'n
ontginnende onderrigmetode vir instrumentale musiekonderrig aandui, hierdie metode
wel meriete het.
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Guided composition : an integrated, outcomes-based music curriculum for grade 8Van Rensburg, Adriana Janse 03 1900 (has links)
Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study involves the research and documentation to develop an integrated, outcomesbased
curriculum for music education in Grade 8 in South Africa by using guided
composition as a teaching method. Directives from the new national curriculum, i.e.
Curriculum 2005, the current Western Cape Education Department's syllabus for Music
and the British National Music Curriculum are considered and applied.
Composition is a medium that assists learners in exploring sound in an approach that
emphasizes discovery through processes of creative thinking when organizing sound.
Music as an art form cannot be mastered through discussion and performance alone.
This study focuses on how composition helps learners to explore and discover through
problem-solving activities when learning to think in sound and to manipulate the
language of music.
General perspectives on music education curricula are researched to determine an
acceptable theoretical proficiency level for Grade 8. The praxial music educational
approach of David Elliott is used as a philosophical foundation for developing the
composition program curriculum. Actively making music, developing musicianship
and developing creativity in music education form the backbone of this author's
approach and hence an accountable basis for a curriculum.
Fundamental issues in developing a curriculum are examined, the crux being how we
learn. Cognitive apprenticeship and reflective thinking as praxial techniques focussing
on integrated and holistic learning are proposed as a methodology for a music education
curriculum, in this case composition. A curriculum for guided composition is designed and set out in four stages according to
the four stages of curriculum development as proposed by David Elliott. Orientation,
preparation and planning, teaching and learning and evaluation and assessment are
addressed.
This composition program attempts to situate and activate musical learning by
proposing teaching and learning skills through which learners can activate and catalyze
their creativity. When learning and experiencing music in a situated, authentic and
practical way, as through composition, lifelong involvement, musical skills and
continued enjoyment and accountability for the subject can be stimulated and established. / AFRIKAANSE OPSOMMING: Hierdie studie behels die navorsing en dokumentasie van die ontwikkeling van 'n
geïntegreerde, uitkomsgebaseerde kurrikulum vir musiekopvoeding in Graad 8 in Suid-
Afrika deur begeleide komposisie as 'n onderrigmetode te gebruik. Riglyne uit die nuwe
nasionale kurrikulum, nl. Kurrikulum 2005, die huidige Wes-Kaap
Onderwysdepartement se sillabus vir musiek en die Britse Nasionale Musiekkurrikulum
word ondersoek en toegepas.
Komposisie is 'n medium wat hom by uitstek daartoe verleen om op ontdekkende wyse,
deur middel van kreatiewe prossesse, klank te eksploreer wanneer dit georganiseer word.
Musiek as kunsvorm kan nie bemeester word deur blote besprekings oor musiek en
voordrag alleen nie. Hierdie studie ondersoek hoe komposisie leerders kan help om te
eksploreer en te ontdek deur middel van probleemoplossingsaktiwitieite wanneer hulle
leer om in klank te dink en die taal van musiek te manipuleer.
Breë perspektiewe op musiekopvoedkundige kurrikula word ondersoek om 'n aanvaarde
vlak van teoretiese bevoegdheid vir leerders in Graad 8 te bepaal. Die praksiële
musiekopvoedkundige benadering van David Elliott is die vertrekpunt om as filosofiese
basis vir die ontwikkeling van hierdie komposisieprogram te dien. Aktiewe musisering.
die ontwikkeling van musiseerderskap en die stimulering van kreatiwiteit in
musiekopvoeding vorm die ruggraat van hierdie outeur se benadering en derhalwe 'n
besinde basis vir 'n kurrikulum.
Fundamentele aangeleenthede in die ontwikkeling van 'n kurrikulum word ondersoek,
waar die kruks lê in hoe ons leer. Kognitiewe vakleerlingskap en reflektiewe denke is praksiële tegnieke wat fokus op geïntegreerde en holistiese leer en word voorgestel as 'n
metodologie vir 'n musiekopvoedkundige kurrikulum, in hierdie geval komposisie.
'n Kurrikulum vir begeleide komposisie word ontwerp en word voorgestel in vier fases
volgens die vier fases van kurrikulum-ontwikkeling van David Elliott nl. oriëntasie,
voorbereiding en beplanning, onderrig en leer en evaluasie en assessering.
Die komposisieprogram word geëvalueer en metodes van kurrikulum-evaluering word
beskryf.
Die komposisieprogram poog om musikale leer te situeer en te aktiveer deur onderrigen
leervaardighede voor te stel waardeur leerders hul kreatiwiteit kan aktiveer en
kataliseer. Wanneer musiek in 'n gesitueerde en outentiek praktiese wyse geleer en
ervaar word, soos deur komposisie, kan lewenslange leer, musikale vaardighede,
voortgehoue genot van musiek en regverdiging van die vak gestimuleer en gevestig word.
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The secular songs of John Blow (1649-1708) : an editionGrobler, Marie 11 1900 (has links)
Thesis (PhD) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The secular songs of John Blow (1649-1708): An Edition
The aim of this thesis is to assemble the 109 secular songs of John Blow in one
anthology, to transcribe them into modem notation and in doing so to make them
accessible for modem use and further research.
A significant feature of this collection is a group of 13 songs which have not been
printed previously and which are available only in manuscript form in special
collections in Great Britain. Other songs published during Blow's lifetime are
likewise found in special collections which are not accessible to the public. Many of
these songs are hard to decipher because of ageing. In some cases the paper is so thin
that the notes show through from the back to the detriment of readibility. Where the
manuscripts as well as contemporary publications exist, significant comparisons could
be made, e.g. with In vain, brisk God of Love (vol. 2: 147) where the MUMS 118
manuscript could be compared with the published version in Choice Ayres and Songs
printed by Godbid and Playford (jnr) in 1683.
An important 'discovery' was finding that an autograph manuscript, Ah me, undone!
(Lhl Add. 31457), does not comprise an individual song as listed by Watkins Shaw
(1980), but an excerpt from the song Happy the Man who languishing (1700). This
made it possible to compare an original manuscript by Blow with a publication of the
same song by Playford.
The 20th century has seen renewed interest in Blow's work: Frederick George
Edwards (1902) and William Cummings (1908), in particular, started this revival in
interest. Harold Watkins Shaw took the lead from 1936 and Leland Clarke (1947) was
responsible for the next phase. Since 1975, Bruce Wood has been the main researcher
of Blow's anthems. Anthony Rooley, director of the Consort of Musicke in London
and Peter Holman, director of the Parley of Instrument, have contributed greatly to
the recent (1987-1999) revival of interest in Blow's music with their performances
and recordings making use of original instruments. This thesis, as well as my Master's
thesis (Grobler 1993), forms part of the most recent stage of research into Blow's
works.
Volume 1:
In the first chapter of the thesis the secular song of the English Restoration (1660-
1714) is presented in perspective. Blow's stylistic characteristics as they manifest
themselves in his secular songs are discussed. The criticism that this style evoked
from music critics through the years, especially Charles Burney (1726-1814), is put into historical perspective. Stylistic characteristics of the song, the influence of French
and Italian vocal music, as well as the strong influence of Charles II's preferences on .
court composers' music, are highlighted. The function of the song in Restoration
society is discussed.
In the second chapter Blow's contribution to the different song types are discussed in
detail: the solo songs, songs for two voices and dialogues, songs for more than two
voices and songs for incidental theatre music.
The editorial process followed in transcribing the songs is explained. This is based on
the methods suggested in Caldwell (1985) and described in the Musica Britannica. A
discussion of the performing practice of the song contributes towards understanding
the Restoration song.
The textual commentary deals with aspects, such as notation and provides more
information about the manuscripts and publications which form the basis of this
investigation. A systematic index of sources and songs is provided.
Volume 2:
In this volume the 109 songs are presented chronologically in modem edited form.
The songs reflect the original manuscript or publication as clearly as possible; old
English spelling has been retained but archaic English letter forms have been
modernised. Clef signs, time signatures, and key signatures, as well as accidentals,
have been used according to modem practice. The figured bass is given as featured in
the sources and is not realised or expanded. / AFRIKAANSE OPSOMMING: Die sekulêre liedere van John Blow (1649-1708): 'n edisie
Die hoofdoel van die proefskrif is om John Blow se 109 sekulêre liedere toeganklik te
maak vir uitvoerings- en navorsingsdoeleindes deur hulle vir die eerste keer as een
versameling bymekaar te bring, getranskribeer in moderne musieknotasie.
Van besondere belang is die insluiting van dertien van Blow se liedere wat nog nie
voorheen gepubliseer is nie en slegs in manuskripvorm in spesiale versamelings in
Engeland beskikbaar is, en liedere wat wel tydens Blow se lewe gepubliseer is, maar
eweneens nie toeganklik is vir die algemene publiek nie. Die leesbaarheid van
sommige liedere word bemoeilik as gevolg van die ouderdom en toestand van die
papier. In 'n paar gevalle is die papier so dun dat die agterste notebeeld deurslaan en
die leesbaarheid erg belemmer.
Waar 'n manuskrip en kontemporêre weergawe van 'n lied bestaan, kon betekenisvolle
vergelykings getref word.
'n Belangrike 'ontdekking' wat gemaak is, is dat die outograaf-manuskrip vanAh me,
Undone (Lbl Add. 31457) nie 'n afsonderlike lied is soos wat Watkins Shaw (1980)
dit gelys het nie, maar 'n gedeelte is van die lied Happy the man, who languishing
(1700). Dit maak dit moontlik om in dié een geval Blow se oorspronklike komposisie
te vergelyk met Playford se gepubliseerde weergawe daarvan.
Dit is eers gedurende die twintigste eeu dat belangstelling in Blow se
musiekgeleidelik begin posvat het. Frederick George Edwards (1902) en veral
William Cummings (1909) het 'n belangrike rol in die Blow-herlewing gespeel.
Harold Watkins Shaw neem vanaf 1936 die leiding met Leland Clarke (1949), 'n
Amerikaner, wat die die volgende fase verteenwoordig. Bruce Wood staan vanaf 1975
aan die voorpunt met sy navorsing oor Blow se Anthems. Anthony Rooley, direkteur
van die Consort of Musicke in Londen asook Peter Holman, direkteur van die Parley
of Instruments het vanaf 1987 met hulle uitvoerings en opnames 'n groot rol gespeel
om Blow se musiek weer aan die publiek bekend te stel. Hierdie tesis, asook my
Magister-verhandeling (Grobler 1993) vorm ook deel van hierdie nuwe belangstelling
in Blowen Engelse Restourasie-musiek.
Volume 1:
In die eerste hoofstuk word die sekulêre lied van die Engelse Restourasie-era (1660-
1714) in perspektief geplaas. Saam met 'n bespreking oor bydraes van John Blow, Henry Purcell en hulle tydgenote tot die genre, word die ontwikkeling van die lied en
uitvoeringspraktyke daarvan krities ondersoek. Terselfdertyd word insae verkry in die'
tydgenootlike liedpublikasies in Engeland gedurende die laat 17de en vroeg 18de eeu.
Daarna volg 'n bespreking van Blow se styleienskappe soos dit veral in die sekulêre
lied manifesteer. Kritiek wat Blow se werkswyse deur die eeue van musiek-kritici
soos bv. Charles Burney (1726-1814) uitgelok het, word in historiese perspektief
geplaas.
Blow se bydrae tot die verskillende liedtipes word breedvoerig bespreek: die sololied,
die twee-stemmige lied en dialogue, die lied vir meer as twee stemme en die lied as
bykomstige teatermusiek. Die styleienskappe van hierdie liedere, die invloed van die
Franse en Italiaanse vokale komposisies en die sterk invloed wat Charles II se voorkeure
op die hofkomponiste se musiek gehad het, word uitgewys. Die funksie van die
lied in die destydse samelewing kom ook onder die loep.
Die redaksionele werkswyse wat gevolg is met die transkribering van die liedere is
gebaseer op moderne benaderings tot dié veld soos Caldwell (1985) dit voorstaan en
toegepas word in die Musica Britannica (1953, 1993, 1996). 'n Bespreking oor die
uitvoeringspraktyk van die lied wil 'n bydrae lewer tot die begrip van die term 'Song'
soos dit in die Restourasie-tydperk verstaan is.
Die tekstuele kommentaar lig aspekte soos notasie in die liedere uit en gee toeligting
oor manuskripte en publikasies wat die ondersoek ten grondslag lê. Ten slotte word al
109liedere, asook liedmusiek, en -publikasies in 'n sistematiese indeks saamgevat.
Volume 2:
In dié volume verskyn die 109 sekulêre liedere chronologies in moderne geredigeerde
vorm. Die liedere word sover moontlik weergegee soos dit in die oorspronklike
manuskripte en publikasies voorkom: die ouer Engelse spelling word behou maar
argaïese lettervorme is gemoderniseer. Sleuteltekens, tydmaattekens, toonsoorttekens
en skuiftekens is in ooreenstemming met huidige praktyke. Die besyferde bas IS
weergegee soos dit in die bronne voorkom, en is nie aangevul of gerealiseer nie.
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A cultural biography of Mantombi Matotiyana and Maxanjana Mangaliso : two contemporary African musiciansLewis, Mary Christine January 2001 (has links)
Thesis (MMus) -- University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study aims to present a cultural monograph of two contemporary South African
musicians, Mantombi Matotiyana and Maxanjana Mangaliso. Both musicians are
highly regarded and respected for their exceptional musical abilities within their
community and society, as well as abroad. This study furthermore wishes to make a
contribution towards the establishment of 'experience-based' ethnomusicological
field research in South Africa.
In keeping with these aims, the material, which has been assembled from personal
interviews with Matotiyana and Mangaliso, is in narrative. It is based on their
personal memories, recollections and perspectives, as well as their views about and
attitudes towards their songs, all aspects of composition, instruments and
performance. The study therefore looks at the interaction between the lives and the
songs of Matotiyana and Mangaliso and relates it to their relevant experiences. The
musicological study of Matotiyana's songs further illuminates her particular style, as
well as her contribution to contemporary Xhosa bow songs in general, especially
within the broader context of Xhosa musical traditions. / AFRIKAANSE OPSOMMING: Hierdie studie poog om 'n kulturele monografie van die twee kontemporêre Suid-
Afrikaanse musici Mantombi Matotiyana en Maxanjana Mangaliso voor te lê. Beide
kunstenaars word as gevolg van hul buitengewone musikale bekwaamhede besonder
hoog aangeskryf en gerespekteer, sowel binne hul eie breë gemeenskap asook in die
buiteland. Terselfdertyd poog hierdie studie om 'n bydrae te maak tot die vestiging
van die sg. "experience-based" tipe etnomusikologiese veldwerk in Suid-Afrika.
Dienooreenkomstig word die inligting wat deur middel van persoonlike onderhoude
met Matotiyana en Mangaliso versamel is, in verhaalvorm aangebied. Dit is gebaseer
op hul eie herinneringe en perspektiewe, asook hulopvattings t.o.v. hul liedere, alle
aspekte van hul komposisie, hul instrumente en opvoerings. Die studie kyk gevolglik
na die wisselwerking tussen die twee musici se lewens en hul musiek en bring hul eie
ervarings in hierdie verband ter sprake. Verder verskaf die analitiese studie m.b.t. die
liedere van Matotiyana insig in haar unieke styl en bydrae tot eietydse Xhosa
boogmusiek, veral binne die breër konteks en tradisies van Xhosa musiek in die
algemeen.
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Arnold Schönberg's Verklärte Nacht [music] : transcription for two pianosMagalhaes, Luis Miguel de Araujo, Schoenberg, Arnold,1874-1951. Verklärte Nacht; arr 02 1900 (has links)
Thesis (M. Mus.) -- University of Stellenbosch, 2002. / Full text to be digitised and attached to bibliographic record. / ENGLISH ABSTRACT: The transcription for two pianos of Arnold Schonberg's Verkliirte Nacht fills a gap in
the two-piano literature and gives an insight into the composer's earlier style of
composition. Few works of this complexity exist in the two-piano literature.
The process of transcription has to take into account the composer's structural and tonal
language, and in particular the problems of transferring a composition from string
instruments to the piano. The transcriber cannot imagine how the composer would have
done a similar transcription, but the intentions of the composer in the original version
can be interpreted and transferred in a stylistically acceptable manner. At all times the
possibilities of the instruments should be taken into consideration.
Given the complex sound texture of the original version, the suggestions for a twopiano
version have to incorporate the following: note length and rest length, sound
colour, attack/articulation, bowing, articulation markings, effects and texture. In the
assignment an explanation is given of the deviations that stem from the above factors.
The awareness of these deviations necessitates a distinction between arrangement and
transcription and compels the transcriber to be as faithful to the original score as
possible. The explanation of deviations further provides the performer with an
awareness of the artistic possibilities that the work provides. / AFRIKAANSE OPSOMMING: Die transkripsie vir twee klaviere van Arnold Schonberg se Verklarte Nacht vul 'n
gaping in die tweeklavier-literatuur. Dit gee ook verdere insig in die komponis se
vroeere komposisiestyl. Daar bestaan min werke van hierdie soort kompleksiteit in die
tweeklavier-literatuur.
Die transkripsieproses moet die komponis se strukturele en tonale taal in ag neem - in
die besonder die probleme rondom die transkribering van 'n strykkomposisie na 'n
klavierkomposisie. Die uitdaging hierin Ie in die feit dat die transkribeerder die
bedoeling van die komponis in die oorspronklike weergawe moet interpreteer en dan op
'n stilisties-aanvaarbare manier moet transkribeer. Die moontlikhede van die
instrumente moet ook te alle tye in ag geneem word.
Met inagneming van die komplekse klanktekstuur van die oorspronklike weergawe,
fokus hierdie werkstuk op voorstelle vir 'n tweeklavier-weergawe rondom die volgende
aspekte: noot- en ruslengte, klankkleur, aanslaglartikulasie, strykslae, artikulasieaanduidings,
effekte en tekstuur. Afwykings rondom bogenoemde aspekte word ook
verduidelik. Weens die transkribeerder se bewuswees van hierdie afwykings is 'n
onderskeid tussen verwerking en transkripsie noodsaaklik. Boonop noop dit die
transkribeerder om so getrou as moontlik te bly aan die oorspronklike weergawe. Die
verduideliking van die afwykings maak die uitvoerende kunstenaar bewus van die
artistieke moontlikhede van die werk.
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Creative group music teaching and the principles of Gestalt play therapy in the foundation phase in South African educationCoetzee, Elthea 12 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Music teaching in groups is an important aspect of the development of the child in
Foundation Phase teaching. Early childhood has been described as the most critical
period in the child’s musical development. With the introduction of Outcomes based
Education in South Africa, the curriculum regarding the presentation of music
classes has changed. Similarities between music group classes and Gestalt Play
Therapy were investigated, with the aim of incorporating concepts of Gestalt Play
Therapy into music group classes.
Legislation was studied in order to determine the expectations of the South African
government, and specifically the education departments, relating to music teaching.
In the present curriculum, the weight allocation for music in the Foundation Phase
was significantly reduced from what it was previously. Teachers must structure their
own music programme into their curriculum. Investigation into the presentation of
creative music group classes, with the incorporation of the principles of Gestalt Play
Therapy, was undertaken in this research study.
Gestalt Play Therapy is a holistic approach that combines the principles of Gestalt
theory with Play Therapy. Research was undertaken to investigate whether specific
stages in Gestalt Play Therapy could be successfully combined with music group
classes. This research emphasizes that the developmental stages of the child, specifically
physical, neurological, cognitive and language development, should be taken into
account when presenting lessons, and that children may be guided towards a higher
level of integration and balance in themselves. Research into OBE principles
suggests that the way forward could be a continuation of the OBE model, but with
certain amendments.
An inductive study of practical observation and presentation of creative group
classes was undertaken. It was found that most teachers were not adequately
qualified to present music classes, and creativity was not satisfactorily addressed in
their lessons. / AFRIKAANSE OPSOMMING: Musiekonderrig in groepe is ‘n belangrike aspek rakende die ontwikkeling van die
kind in Grondslagfase onderrig. Vroeë kinderjare word beskryf as die mees kritieke
periode in die kind se musikale ontwikkeling. Met die inwerkingstelling van
Uitkomsgebaseerde onderrig in Suid-Afrika, het die kurrikulum aangaande die
aanbieding van musiekklasse verander. Ooreenkomste tussen musiekonderrig in
groepe en Gestalt Spelterapie is ondersoek, met die doel om konsepte van Gestalt
Spelterapie in musiekonderrig in groepe te inkorporeer.
Wetgewing is bestudeer om die verwagtinge, aangaande musiekonderrig, van die
Suid Afrikaanse regering, en spesifiek die onderwysdepartemente, te bepaal. Binne
die huidige kurrikulum is die gewig toegeken aan musiek, binne die Grondslagfase,
aansienlik verminder van voorheen. Onderwysers moet self hul musiekprogramme
binne hulle kurrikulum struktureer. ‘n Ondersoek is geloods om die aanbieding van
kreatiewe musiekonderrig in groepe te kombineer met die beginsels van Gestalt
Spelterapie.
Gestalt Spelterapie is ‘n holistiese benadering wat die beginsels van Gestalt teorie
kombineer met Spelterapie. Navorsing is gedoen om te bepaal of spesifieke stadia in
Gestalt Spelterapie suksesvol gekombineer kan word met musiekonderrig in groepe.
Hierdie navorsing benadruk dat die ontwikkelingsstadia van die kind, spesifiek
fisiologies, neurologies, kognitief en taalontwikkeling, in ag geneem moet word
wanneer lesse aangebied word, en dat kinders hierdeur gelei kan word na ‘n hoër
vlak van innerlike integrasie en balans.
v
Navorsing gedoen betreffende die beginsels van Uitkomsgebaseerde onderrig is
aanduidend dat hierdie onderrigmodel wel voortgesit sou kon word, maar met
bepaalde aanpassings.
‘n Induktiewe studie van praktiese waarneming sowel as aanbieding van kreatiewe
groepsklasse is onderneem. Daar is bevind dat die meeste onderwysers nie
voldoende gekwalifiseerd is om musiekklasse aan te bied nie, en kreatiwiteit is ook
nie bevredigend in hulle lesse aangespreek nie.
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Die rol van die sangpedagoog in die interdissiplinêre behandeling van sangers met stemprobleme.Tait-Jones, Vanessa 12 1900 (has links)
Thesis (MMus) (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING:In Suid-Afrika, soos in ander lande, gebeur dit dikwels dat sangers in een of
ander stadium van hul loopbaan met stemmoeilikheid/’n stemprobleem te
doen kry. Die mees algemene reaksie is om ’n oor-, neus- en keelspesialis
(ONK-spesialis) te besoek vir hulp. Die sangaktiwiteit vereis egter ’n baie fyn
gebalanseerde kondisie van die sangapparaat en dit blyk dat die oorsprong
van die meeste stemprobleme onder sangers funksioneel van aard is.
Daarom word daar van die veronderstelling uitgegaan dat die mees
suksesvolle behandelingsroete vir die sanger met ‘n stemprobleem ‘n
integrale interdissiplinêre benadering behels wat nie net die ONK-spesialis
insluit nie, maar ook ‘n spraakterapeut en sangpedagoog. Anders as in Suid-
Afrika, word hierdie interdissiplinêre benadering alreeds algemeen toegepas
in lande soos die VSA en Brittanje.
Hierdie studie vind plaas vanuit die oogpunt van die sangpedagoog en
identifiseer die nodige kennis en praktiese ondervinding wat sodanige
sangpedagoog sal benodig om suksesvol as deel van ’n interdissiplinêre span
in die behandeling van sangers met stemprobleme te funksioneer. Om hierdie
doel te verwesenlik, neem die studie die vorm van ’n gevallestudie aan waarin
die navorser binne die bestek van verskeie maande konsultasies met sangers
met stemprobleme binne ‘n mediese stemkliniek onder leiding van ’n ONKspesialis
prakties geobserveer het. Deurgaans word sodanige gevallestudies
weergegee en bespreek. Dit sluit o.a. die rol van elk van die interdissiplinêre
spanlede, oorsake en behandeling van tipiese stemprobleme onder sangers,
asook die spesifieke rol van die sangpedagoog in die behandelingsproses, in.
In die geheel het hierdie studie getoon dat daar ’n groot leemte en onkunde
onder baie sangers bestaan (veral amateursangers) wat die nodige sorg en
hantering van hul sangstem betref. Hiperfunksionele stemproduksie a.g.v.
foutiewe stemgebruikgewoontes, afwesigheid van sangopleiding en onkunde
op die gebied van stemhigiëne en -sorg was opvallend.
Dit blyk dat die sangpedagoog, in noue samewerking met die ONK-spesialis
en spraakterapeut, ‘n kritieke leemte kan vul in die gespesialiseerde
opvoeding en behandeling van sangers met stemprobleme. / ENGLISH ABSTRACT: In South Africa, as in other countries, singers frequently happen to experience
voice problems at some or other stage in their career. The general reaction to
this problem is to seek help from an ear, nose and throat specialist (ENT
specialist). Seeing that the activity of singing requires such a finely balanced
condition of the vocal instrument, it seems that the origin of most voice
problems singers experience are of a functional nature. This study is based on
the premise that the most successful way of treating an artist with a voice
problem is via an integrated interdisciplinary team approach, which includes
an ENT specialist as well as a speech therapist and a singing pedagogue.
Unlike in South Africa, this interdisciplinary approach is already common
practice in countries such as the USA and the UK.
The study is conducted from the viewpoint of a singing pedagogue. It
identifies the knowledge and practical experience the singing pedagogue
would require to function successfully as part of an interdisciplinary team in
the treatment of singers with voice problems. To succeed in this goal the
study takes on the form of a case study. The researcher practically observed
consultations with singers over several months in a medical voice clinic under
the leadership of an ENT specialist. These case studies are reflected and
discussed throughout this thesis. Amongst others, this includes the role of
each member of the interdisciplinary team, the causes and treatment of typical
voice problems amongst singers, as well as the specific role of the singing
pedagogue in the treatment process.
It is found that a great deal of ignorance exists amongst many singers
(especially amateur singers) in respect of the necessary care and
management of their singing voice. Hyperfunctional voice production due to
incorrect voice-use habits, the absence of vocal training and ignorance
regarding vocal hygiene and voice care were encountered frequently.
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