Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: There is a growing interest in the investigation of the value of music to the development of cognitive, social, personal and motor skills pertaining to infants. Research has shown that the inclusion of music in intervention programs for physically and cognitively disabled children could have a positive influence on the development of several of their skills. Against this background the reactions and development of four children with Down syndrome from a school for the disabled in Bellville were investigated from a holistic point of view during their participation in a music stimulation program. The music stimulation program presented in this study was compiled after consulting existing well-proven music appreciation programs for non-disabled children. Some of the activities extracted from these programs were adjusted where necessary. At times nonmusical activities were also combined with music in order to address a diversity of skills by means of music. Results after the completion of the program indicated that music has the potential to enhance the development of several skills and intelligences, as identified and described by Gardner (1983), of children with Down syndrome. Although it was difficult to determine whether music was responsible for some of the improvements that were observed, the results from this study indicated that children with Down syndrome can benefit from a structured music stimulation program. / AFRIKAANSE OPSOMMING: Die waarde van musiek ten opsigte van die ontwikkeling van kognitiewe, sosiale, persoonlike en motoriese vaardighede by kleuters word toenemend ondersoek. Navorsing het getoon dat die insluiting van musiek by intervensieprogramme vir fisies en kognitief gestremde kinders die ontwikkeling van verskeie vaardighede positief kan beïnvloed. Teen hierdie agtergrond IS die reaksies en ontwikkeling van vier kinders met Downsindroom vanuit 'n holistiese oogpunt tydens deelname aan 'n musiekstimuleringsprogram ondersoek. Hierdie kinders het 'n skool vir gestremdes in Bellville bygewoon. Die musiekstimuleringsprogram wat tydens die studie gebruik is, is saamgestel deur bestaande musiekwaarderingsprograrnme vir nie-gestremde kleuters wat oor 'n aantal jare beproef is te raadpleeg en, waar nodig, die aktiwiteite aan te pas. Nie-musikale aktiwiteite is soms met musiek gekombineer ten einde 'n verskeidenheid van vaardighede deur middel van musiek aan te spreek Die resultate van die voltooiing van die program het daarop gedui dat musiek die potensiaal het om 'n positiewe invloed op die ontwikkeling van verskeie vaardighede en intelligensies, soos geïdentifiseer en beskryf deur Gardner (1983), op kinders met Downsindroom uit te oefen. Hoewel dit soms moeilik was om te bepaal of musiek verantwoordelik was vir sommige van die verbeterings wat opgemerk is, het dit uit die resultate van hierdie studie geblyk dat kinders met Downsindroom kan baat vind by 'n gestruktureerde musiekstimuleringsprogram.

Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: The AFM came into being as a result of the Pentecostal Movement, which in turn owes its existence to the worldwide revivals at the beginning of the twentieth century. The president of the AFM, Dr. Isak Burger, writes in his book concerning the history of the church: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, that the First Evangelical Awakening (18th century), the Second Evangelical Awakening (19th century), as well as the worldwide revivals at the beginning of the twentieth century, had a causal effect on one another. It goes without saying that the musical practices of these Awakenings would also, indirectly, influence that of the AFM. This study serves a twofold purpose. It is just as important to examine the origin and development of the AFM, as it is to examine internal and external factors that have influenced its musical practices. The music that has been used during different periods also receives due attention. In order to view the AFM in the correct perspective, Chapter 1 deals with the factors leading up to the origin of the Pentecostal Movement. However, the historical development within the AFM also receives attention, with special reference to those events which influenced the practice of church music directly or indirectly. Chapter 2 includes a history of Church Music since the Reformation, since the Reformers strove to get the congregation involved into the service of worship. Music practised during the First and Second Evangelical Revivals, as well as the subsequent revivals at the beginning of the twentieth century, also receives mention. The musical practice within the AFM forms the main theme of Chapter 3. Subdivisions of this chapter reflect historical events within the AFM, the influence of the Charismatic Revival Movement, the role and function of music during church services, the rendition of music items, as well as the leading figures who contributed to this practice. Chapter 4 provides a chronological summary of songbooks used by the AFM since 1908 until 1998, while Chapter 5 presents analyses of the music mentioned in Chapters 2,3 and 4. / AFRIKAANSE OPSOMMING: Die AGS het vanuit die Pinksterbeweging ontstaan, terwyl dié op sy beurt uit die wêreldwye Ontwakings aan die begin van die twintigste eeu tot stand gekom het. Die President van die AGS, Dr. Isak Burger, kom in sy boek: Die Geloofsgeskiedenis van die Apostoliese Geloofsending van Suid-Afrika, tot die gevolgtrekking dat vorige Ontwakings van so ver terug as die Eerste Evangeliese Ontwaking (18de eeu), die Tweede Evangeliese Ontwaking (19de eeu), sowel as die wêreldwye Ontwakings aan die begin van die 20ste eeu, in kousale verband tot mekaar gestaan het. Dit spreek dus vanself dat ook die musiekbeoefening tydens hierdie Ontwakings indirek 'n invloed op dié van die AGS sou uitoefen. Hierdie studie is dus tweërlei van aard. Aan die een kant word die nodige aandag aan die ontstaan, sowel as die geskiedenis van die AGS gegee, terwyl die ontwikkeling van die musiekbeoefening soos beïnvloed deur interne en eksterne faktore, asook die musiek wat tydens verskillende tydperke gesing is, ook onder die loep geneem word. Om die AGS as kerkgenootskap binne die regte perspektief te plaas, begin Hoofstuk 1 met die vooraf- en ontstaansgeskiedenis van die Pinksterbeweging. Daar word egter ook kortliks aan die geskiedkundige verloop van gebeure binne die AGS aandag gegee, veral wanneer die beoefening van kerkmusiek direk of indirek daardeur geraak is. In Hoofstuk 2 word so ver as die Hervorming teruggegryp m.b.t. kerkmusiekgeskiedenis, aangesien die Hervormers so 'n belangrike bydrae gelewer het om die gemeente d.m.v. die kerklied weer by die erediensgebeure betrokke te kry. Daar word egter ook kortliks na musiek van die reeds genoemde Ontwakings in die 18de, 19de, asook aan die begin van die 20ste eeue verwys. Die AGS se musiekpraktyk vorm die hooftema van Hoofstuk 3. Onderafdelings van hierdie studie sluit o.a. in: bepalende geskiedkundige gebeure binne die AGS, die invloed van die Charismatiese Herlewingsbeweging, die rol van begeleiers en die begeleiding t.o.v. gemeentelike same sang tydens byeenkomste en die lewer van musiekitems, asook belangrike persone wat as leiers na vore getree en belangrike werk verrig het. Hoofstuk 4 bied 'n chronologiese opsomming van liedboeke wat vanaf 1908 tot en met 1998 deur die AGS gebruik is, en in Hoofstuk 5 word ontledings gemaak van musiek wat in Hoofstukke 2, 3 en 4 bespreek is. In Bylae 1 word aangedui watter musiek deel van die belangrikste liedbundels, nl. Hymns for Life and Service, Nuwe Sionsliedere, Evangelieliedere en Deo Gloria uitgemaak het, terwyl Bylaes 2 en 3 volledige bladmusiekvoorbeelde van ontledings van onderskeidelik vroeëre en hedendaagse musiek bevat.

Thesis (MMus) -- University of Stellenbosch, 2003. / ENGLISH ABSTRACT: In the modern Western world, secondary and tertiary learners generally have ready access to the use of computers, multimedia and the Internet. As a means to strengthen traditional education, computer-based methods and materials are increasingly being used in the education system and are also strongly recommended by many educational experts. The use of such electronic educational means has however resulted in various changes to the education system. Music educators, too, are subject to these changes. The aim of this study is to determine the extent to which computer-based education can contribute to the strengthening of traditional music education of the Western world. To this end, it is necessary to ascertain, in practice, the value of using computer-based material for the purpose of music education. A multimedia database of Xhosa music terminology was created in the Music Department of Stellenbosch University, with high school learners and undergraduate students as target group. In this thesis, the value of this database, as an example of computer-based material for music education, is assessed. It is intended to extend the database at a later stage through the addition of music terminology from other indigenous music cultures. In its current form, the database thus forms part of a larger whole and is not viewed as a completed enterprise. On the basis of the literature that was studied for the investigation, it is determined whether the multimedia database for Xhosa music terminology measures up to the criteria for effective computer-based programmes. Suggestions are also made for improving the database to ensure a more useful and user-friendly product. / AFRIKAANSE OPSOMMING: In die moderne Westerse wêreld het sekondêre en tersiêre leerders tans redelik algemeen toegang tot die gebruik van rekenaars, multimedia en die Internet. Rekenaargesteunde metodes en materiaal word toenemend ter versterking van die tradisionele onderwysstelsel aangewend, en ook deur talle opvoedkundiges aanbeveel. Die gebruik van dergelike elektroniese onderrigmiddele het egter verskeie veranderings in die onderwysstelsel teweeggebring. Ook musiekopvoeders word deur hierdie veranderings geraak. Die doelstelling van hierdie navorsing is om te bepaal tot watter mate rekenaargesteunde musiekonderrig 'n bydrae kan lewer tot die versterking van tradisionele Westerse musiekonderrig. Om hierdie doelstelling te bereik, is dit noodsaaklik om in die praktyk te bepaal watter waarde rekenaargesteunde onderrigmateriaal het vir die doeleindes van musiekonderrig. 'n Multimediadatabasis van Xhosa musiekterme is in die departement Musiek aan die Universiteit Stellenbosch geskep, met hoërskoolleerders en voorgraadse studente as teikengroep. In hierdie tesis word die waarde van hierdie databasis, as 'n voorbeeld van rekenaargesteunde onderrigmateriaal vir musiekonderrig, geëvalueer. Daar word beoog om die databasis op 'n later stadium verder uit te brei deur ook musiekterme uit ander inheemse musiekkulture by te voeg. Die databasis in sy huidige vorm maak dus deel uit van 'n groter geheel en word nie as 'n afgehandelde databasis beskou nie. Op grond van literatuur wat vir die doel van die ondersoek bestudeer is, word bepaal of die multimediadatabasis van Xhosa musiekterme voldoen aan die kriteria vir doeltreffende rekenaargesteunde onderrigprogramme. Daar word ook voorstelle gemaak oor hoe die databasis verbeter sou kon word om 'n meer bruikbare, gebruikersvriendelike produk te verseker.

Thesis (MMus (Music))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This study concerns the widespread phenomenon that music is perceived as meaningful to the listener in some sense. The study adopts a style of conceptual clarification and investigation that is current in the analytic philosophy of language, and is further informed by recent research into the fundamental biology of human musicality, which suggests that musicality and language are neurologically related. The problem of musical meaning is approached as a problem of communicative behaviour, and is hence conceptually related to the concept of meaningfulness in the various modalities of linguistic communication. ‘Communication’ is defined in terms of the intended consequences of communicative acts – that is, a communicative act is an attempt on the behalf of the utterer to cause some sort of change in the listener’s mental states. From this premise, meaning in both musical and linguistic acts is defined in terms the mental states elicited in the mind of the listener. Two classes of mental state are identified: cognitive states, which are propositional in nature; and affective states, which are essentially nonpropositional. It is proposed that meaning in both music and language (as well as in other communicative acts) can be explained in terms of the elicitation of these classes of mental states in the minds of competent listeners, and that in any linguistic or musical act, a competent listener will entertain a composite of these mental states that will be perceived as meaning. The mechanisms responsible for the elicitation of these states are discussed, and it is concluded that the causal powers of the communicative act, as it is represented in the mind, are responsible for the elicitation of these mental states. Directly causal means are responsible for affective states: there is a relationship of direct causation between relevant features of the communicative act, as represented in the mind, and affective states. Affective states are nonpropositional, in that they cannot be subjected to deductive or propositional operations in the mind. By virtue of their being non-propositional, such states are also considered to be beyond verbal explication (‘ineffable’). Cognitive states, on the other hand, are propositional in nature. The mechanisms by which they are realised are complex in terms of propositional computation: the relevant propositional features of the communicative act, as represented in the mind of the listener, undergo manipulation by mental processes (for instance, the computational system for linguistic syntax). Cognitive states are expressible in propositional terms, and are hence expressible in language. Whereas linguistic communication is efficacious for the elicitation of cognitive states, musical utterances tend to elicit affective states to a far greater degree. Furthermore, whereas the syntax of language aids communication in the facilitation of semantics, the syntactic dimension of music is principally a means of implementing affective states in the listener. Therefore, any explanation of musical meaning must take the syntactical dimension of music into account. It is also argued that there are features of performance common to both language (in its spoken modality) and musical utterances that serve to elicit affective states. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die verskynsel dat musiek deur die meeste luisteraars as betekenisvol ervaar word. ’n Styl van konseptuele verduideliking en ondersoek word gebruik wat eie is aan die analitiese filosofie van taal. Terselfdertyd word die jongste navorsing op die gebied van die fundamentele biologie van menslike musikaliteit in aanmerking geneem, wat suggereer dat taal en musikale vermoë neurologies met mekaar verwant is. Die probleem van betekenis in musiek word as ʼn probleem van kommunikatiewe gedrag benader, en is dus konseptueel verbind aan die konsep van betekenisvolheid in die verskeie modaliteite van kommunikasie deur middel van taal. ‘Kommunikasie’ word in terme van die geïntendeerde uitkomste van kommunikatiewe aksies/dade gedefinieer. Met ander woorde, ʼn kommunikatiewe aksie/daad is ʼn poging deur die spreker om uiteindelik ʼn verandering in die geestesgesteldheid (‘mental state’) van die luisteraar teweeg te bring. Op hierdie basis word twee tipes geestesgesteldheid onderskei: ʼn kognitiewe gesteldheid, wat proposisioneel van aard is, en ʼn affektiewe gesteldheid, wat nie-proposisioneel is. Daar word voorgestel dat betekenis in beide musiek en taal, soos ook in ander vorme van kommunikasie, verduidelik kan word as die belewenis van sodanige geestesgesteldhede aan die kant van die bedrewe luisteraar. Dit impliseer dat die betekenis van enige uiting in taal of musiek as ʼn bepaalde kombinasie van hierdie twee geestesgesteldhede deur die bedrewe luisteraar ervaar word. Die meganismes wat hierdie geestesgesteldhede ontlok word bespreek, en die gevolgtrekking word gemaak dat dit die kousale mag van die kommunikatiewe daad is, soos dit in die bewussyn (‘mind’) neerslag vind, wat hierdie twee tipes geestesgesteldheid ontlok. Daar word beweer dat ʼn proses van direkte kousaliteit verantwoordelik is vir ʼn affektiewe gesteldheid: daar is ’n oorsaaklike verhouding tussen die onderskeie kenmerke van die kommunikatiewe daad, soos dit in die bewussyn voorgestel word, en die uiteindelike affektiewe geestesgesteldheid. ʼn Affektiewe geestesgesteldheid is nie-proposisioneel omdat dit nie in terme van deduktiewe of proposisionele prosesse in die bewussyn verstaan kan word nie. Omdat dit nie-proposisioneel is word die kenmerke van hierdie affektiewe geestesgesteldheid as onsegbaar (‘ineffable’) deur die luisteraar beleef. Daarteenoor is ʼn kognitiewe geestesgesteldheid proposisioneel van aard. Die meganismes wat veroorsaak dat hierdie geestesgesteldheid gerealiseer word is kompleks: die onderskeie kenmerke van die kommunikatiewe daad, soos dit in die bewussyn van die luisteraar voorgestel word, ondergaan manipulasie deur denkprosesse wat proposisioneel van aard is (bv., die denkproses wat die sintaktiese dimensie van taal moet verwerk). ʼn Kognitiewe geestesgesteldheid kan in proposisionele terme weergegee en gevolglik in taal verwoord word. Terwyl kommunikasie deur middel van taal effektief is om ʼn kognitiewe geestesgesteldheid te ontlok, is musikale uitdrukking veel eerder geskik om ʼn affektiewe geestesgesteldheid te ontlok. Verder, terwyl die sintaksis van taal bydra tot verwesenliking van semantiese betekenis, dra die sintaktiese dimensie van musiek eerder daartoe by om ʼn affektiewe geestesgesteldheid by die luisteraar te vestig. Dus moet elke verduideliking van musikale betekenis die sintaktiese dimensie van musiek in aanmerking neem. Verder word beweer dat daar algemene kenmerke in sowel taal (in die gesproke modaliteit) as musiek voorkom wat spesifiek ʼn affektiewe geestesgesteldheid tot stand bring.

Thesis (MMus) - Stellenbosch University , 1986. / INLEIDING: By die instudeer van 'n aantal Schubert-liedere het die skryfster onder die indruk gekom van nie alleen die skoonheid van die poëtiese en musikale inhoud nie, maar veral ook die pedagogiese waarde daarvan. 'n Behoefte om die potensiaal van die Schubert-liedere as onderrigmateriaal te ondersoek, het ontstaan.

Thesis (MPhil (Music))--University of Stellenbosch, 2011. / ENGLISH ABSTRACT: This thesis represents an attempt to explore the use of metadiegetic film sound and its connection with qualities displayed by human physiology. Metadiegesis is chosen as the focus of this study, in order to point out the potential of film sound to be representative and not to slavishly imitate its visual counterpart. Therefore, because metadiegetic sound is deictic in nature, the first hurdle to clear was to navigate through a terminological minefield, allowing a clear glimpse of its true meaning and its connection with the filmic image. The researcher attempts to create hypothetical scenarios in order to analyse and discuss metadiegetic examples from films, convincingly utilised and less-convincingly so. The intention was to understand, clarify and disambiguate terminological uncertainties and inaccuracies. An exploration of asynchronous metadiegetic sound follows as refinement of the first step. This is done by resorting to existing examples in the form of extracts from films for demonstration purposes. As a result, the use of metadiegetic film sound is clearly defined and its use explained by attaching it to three concepts: a ‘story within a story’, external story space, and internal representation. It is argued that through these concepts, sound can be amalgamated with image to create a different realm, where sound and image tell more than an audio-visual story. / AFRIKAANSE OPSOMMING: In hierdie tesis poog die navorser om die gebruik van “metadiegetic” film-klank, en die verband wat dit met die menslike fisiologie hou, te verken. “Metadiegesis” vorm dus die fokuspunt van die navorsingstuk. Hierdie fokus beklemtoon film-klank se verteenwoordigende potensiaal, en die feit dat dit nie net ʼn slaafse nabootsing van die visuele aspek van film is nie. Aangesien “metadiegetic” klank dus deikties van aard is, is die eerste uitdaging om ʼn weg te vind deur ʼn terminologiese mynveld. Dit word gedoen in ʼn poging op ʼn duidelike begrip van die ware betekenis van “metadiegesis” te ontwikkel, en om die verband wat film-klank met die visuele aspek van film het, duidelik te maak. Die navorser poog in die eerste plek om hipotetiese scenario’s te skep om sodoende “metadiegetic” voorbeelde in films te analiseer en te bespreek. Die doel is om terminologiese onsekerhede en dubbelsinnighede te verstaan en te verklaar. Dan volg die verkenning van asinchroniese “metadiegetic” klank as verfyning van die eerste stap. Dit word gedoen deur gebruik te maak van film-uittreksels ter verduideliking van die bogenoemde stappe. Na aanleiding hiervan, is die gebruik van metadiegetiese film-klank duidelik gedefinieer, en die toepassing daarvan gekoppel aan drie konsepte: ʼn “storie binne-in ʼn storie”, “eksterne storie ruimte” en “interne verteenwoordiging”. Deur middel van hierdie konsepte kan klank saamsmelt met beeld om ʼn ander dimensie te betree, waar klank en beeld meer vertel as ʼn oudiovisuele storie.

Thesis (MA) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This study was undertaken with a view to evaluate the effect of music education on the self-concept of the learner with attention deficit hyperactivity disorder. Four learners diagnosed with attention deficit hyperactivity disorder were asked to participate in a music program presented for two terms by the researcher. The selfconcept of the learners was recorded through interviews and questionnaires by the learners and their parents before the study commenced. Observations by the researcher and objective observer were used to monitor the learners' progress during the course of the lessons. After the completion of the music program the learners and their parents were again asked to participate in an interview and to complete a questionnaire. This study revealed that music education is a great enjoyment to these learners and the self-concept and self-confidence of some of the learners improved. A literature review was done in order to obtain a perspective on attention deficit hyperactivity disorder. A historical overview provided insight into the development of this disorder necessary to describe it properly. The study also focuses on various intervention techniques which can be used by parents and teachers. In addition, the study focuses on the role of music education and music practice on the various developmental levels of the learner and how music can indeed affect relaxation and be responsible for lifelong learning. It is recommended that the learners continue with mUSIC education, because it provides them with a sense of success and it plays a vital role in the cognitive development of the learner. This, in tum, leads to lifelong learning: an influence that will remain an irrevocable part of the child for the rest of his/her life. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem met die doelom die uitwerking van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit te evalueer. Vier leerders wat gediagnoseer is met aandagafleibaarheid-hiperaktiwiteit is genader om 'n musiekprogram, aangebied deur die navorser, vir twee kwartale by te woon. Die selfbeeld van die leerders, wat vooraf deur middel van onderhoude en vraelyste deur die leerders en hulouers voltooi is, is geëvalueer. Die leerders se vordering is tydens die lesse deur middel van observering en objektiewe waarneming bepaal. Na afloop van die musiekprogram is die leerders en hulouers weer gevra om 'n onderhoud en vraelys te voltooi. Uit die studie blyk dit dat musiekonderrig 'n groot mate van genot vir die leerders is en daar was 'n verbetering in selfbeeld en selfvertroue by sommige van die leerders. 'n Literatuuroorsig bied insig oor die omvang van aandagafleibaarheid-hiperaktiwiteit en 'n historiese oorsig oor die verloop van die proses wat tot 'n beskrywing van die versteuring lei, word bekyk. Die verskeie intervensie-tegnieke wat deur ouers en opvoeders toegepas kan word, word bespreek. Verder word die rol wat musiekonderrig en musiekbeoefening op die verskillende ontwikkelingsvlakke van die leerder speel aangespreek, asook hoe musiek 'n ontspannende effek kan hê en verantwoordelik kan wees vir lewenslange leer. Dit word aanbeveel dat leerders volhou met musiekonderrig, omdat dit 'n gevoel van sukses verskaf en 'n belangrike rol speel in die leerder se kognitiewe ontwikkeling. Laasgenoemde is gevolglik verantwoordelik vir lewenslange leer: 'n onherroeplike invloed op die leerder vir die res van sy/haar lewe.

Thesis (MPhil)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: Tonality cognition incorporates a number of diverse and multidisciplinary aspects, including music cognition, acoustics, culture, computer-aided modelling, music theory and brain science. Current research shows growing emphasis on the use of computational models implemented on digital computers for music analysis, particularly with reference to the analysis of statistical properties, form and tonal properties. The applications of these analytical techniques are numerous, including the classification of genre and style, Music Information Retrieval (MIR), data mining and algorithmic composition. The research described in this document focuses on three aspects of tonality analysis, namely music cognition, computational modelling and music theory, particularly from the perspectives of statistical analysis and key-finding. Mathematical formulations are presented for a number of computational algorithms for analysing the statistical and tonal properties of music encoded in symbolic format. These include algorithms for determining the distributions of note durations, pitch intervals and pitch classes for statistical analysis and for template-based key-finding for tonal analysis. The implementation and validation of these computational algorithms on the Matlab software platform are subsequently discussed. The software application is used to determine whether a more optimal combination of pitch class weighing model and key profile template for the template-based key-finding algorithm can be derived, using the 24 preludes from Bach’s Well-tempered Clavier Book I, the Courante from Bach's Cello Suite in C major and the Gavotte from Bach's French Suite No. 5 in G major (BWV 816) as test material. Four pitch class weighing models, namely histogram weighing, flat weighing, linear durational weighing and durational accent weighing, are investigated. Two prominent key profile templates proposed in literature are considered, namely a key profile derived from tonality cognition experiments and a key profile based on classical music theory principles. The results show that the key-finding performances of all the combinations of the pitch class weighing models and existing key profile templates depend on the nature of the test material and that none of the combinations perform optimally for all test material. The software application is subsequently used to determine whether a more optimal key profile template can be derived using a pattern search parameter estimation algorithm. This investigation was conducted for diverse sets of search conditions, including unconstrained and constrained key profile coefficients, different pitch class weighing models, various key resolutions and different search algorithm parameters. Using the same sample material as for the key-finding evaluations, the investigation showed that a more optimal key profile, compared to existing profiles, can be derived. In comparing the average key-finding scores for all of the test material, the optimised profiles outperform the existing profiles substantially. The optimised key profiles introduce new pitch class hierarchies where the supertonic and the subdominant rate higher at the expense of the mediant in the major profile to improve the tracking of key modulations. / AFRIKAANSE OPSOMMING: Kognitiewe tonaliteit behels 'n aantal uiteenlopende en multidissiplinêre aspekte, insluitende musiek, akoestiek, kultuur, rekenaargesteunde modelering, musiekteorie en breinwetenskap. Huidige navorsing toon toenemende klem op die gebruik van berekenende modelering wat op digitale rekenaars geimplimenteer is vir musiekanalise, veral met verwysing na die analise van statistiese eienskappe, vorm en tonale eienskappe. Die aanwending van hierdie analitiese tegnieke is veelvoudig, insluitende die klassifikasie van genre of styl, onttrekking van musiekinformasie, dataversameling en algoritmiese komposisie. Die navorsing wat in hierdie dokument beskryf word fokus op drie aspekte van tonaliteit analise, naamlik musiekkognisie, berekenende modelering en musiekteorie, veral vanuit die perspektiewe van statistiese analise and toonsoortsoek. Wiskundige formulerings word aangebied vir 'n aantal berekeningalgoritmes vir die analise van die statistiese en tonale eienskappe van musiek wat in simboliese formaat ge-enkodeer is. Hierdie sluit algoritmes in vir die bepaling van die verspreidings van nootlengtes, toonintervalle en toonklasse vir statistiese analise en vir templaatgebaseerde toonsoortsoek vir tonale analise. Die implementering en validering van hierdie berekeningalgoritmes op die Matlab programmatuur platvorm word vervolgens bespreek. Die programmatuur toepassing word vervolgens gebruik om te bepaal of 'n meer optimale kombinasie van toonklas weegmodel en toonsoortprofiel templaat vir die templaat-gebaseerde toonsoortsoek algoritme afgelei kan word, deur gebruik te maak van Bach se Well-tempered Clavier Book I, die Courante van Bach se Cello Suite in C major en die Gavotte van Bach se French Suite No. 5 in G major (BWV 816) as toetsmateriaal. Vier toonklas weegmodelle, naamlik histogram weging, plat weging, lineêre duurtyd weging en duurtyd aksent weging, word ondersoek. Twee prominente toonsoortprofiel template uit die literatuur word oorweeg, naamlik 'n toonsoortprofiel wat van tonaliteit kognisie eksperimente afgelei is en 'n toonsoortprofiel gebaseer op klassieke musiekteoretiese beginsels. Die resultate wys dat die toonsoortsoek prestasies van al die kombinasies van die toonklas weegmodelle en bestaande toonsoortprofiel template afhang van die aard van die toetsmateriaal en dat geen van die kombinasies optimaal presteer vir alle toetsmateriaal nie. Die programmatuur toepassing word vervolgens aangewend om vas te stel of 'n meer optimale toonsoortprofiel afgelei kan word deur gebruik te maak van 'n patroonsoek parameterestimasie algoritme. Hierdie ondersoek is uitgevoer vir uiteenlopende stelle soektoestande, insluitende onbeperkte en beperkte toonsoortprofiel koëffisiënte, verskillende toonklas weegmodelle, 'n verskeidenheid toonsoort resolusies en verskillende soekalgoritme parameters. Deur gebruik te maak van dieselfde toetsmateriaal as vir die toonsoortsoek evaluerings, toon die ondersoek dat 'n meer optimale toonsoortprofiel, in vergelyking met bestaande profiele, afgegelei kan word. In 'n vergelyking van die gemiddelde toonsoortsoek prestasie vir al die toetsmateriaal, presteer die geoptimeerde profiele aansienlik beter as die bestaande profiele. The ge-optimeerde toonsoortprofiele lei tot nuwe toonklas hiërargiee waar die supertonikum en die subdominant hoër rangposissies beklee ten koste van die mediant in die majeur profiel, ten einde die navolg van toonsoort modulasies te verbeter.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: Nowadays Music Community Projects are a common phenomenon in South Africa. These projects start with great ambition to uplift underprivileged communities through music education, but due to various reasons many of these projects unfortunately do not last very long. The Frank Pietersen Music Centre (FPMC) in Paarl, which recently celebrated its fortieth year, suffered many drawbacks during its existence, but also showed unbelievable progress during the same time. At the moment the FPMC is a noticeable institution and the only one of its nature in the Drakenstein district. The centre was established in the Paarl Coloured community during the early years of Apartheid as a result of a shortage of music facilities for this population group. As music was one of the few activities in which this population group could express themselves during this time, various music activities resulted and the need for formal music education for the Paarl Coloured community became more prominent. Mr Frank Pietersen took notice of this need and in 1970 he established the Paarl Schools Music Centre (PSMC). This music centre showed immense progress, but as a result of various reasons it started declining during the late eighties and finally in 1988 it experienced a period of recess. After Mr Pietersen's death in 1989, his son, Mr Vaughan Pietersen, decided to let the PSMC relive. In October 1991 the PSMC celebrated its 21st year and at this occasion it was renamed after its founder and was known thereafter as the Frank Pietersen Music Centre. Since, the centre has reached many milestones and its existence was ensured when it was taken over by the Western Cape Education Department in 1994. At the moment the FPMC provides music education to children and adults, in and outside the borders of the Drakenstein area. Education is provided in nearly all the instruments of the Classical Symphony Orchestra, as well as African instruments and Jazz instruments. It has various instrumental ensembles and choirs and the FPMC is especially well known for its Youth Orchestra. The centre also provides for the needs of the surrounding underprivileged communities by means of outreach programmes that are presented at reasonable fees. The latest addition to the centre's education is the presentation of the full Subject Music programme for scholars and it forms part of the Western Cape Education Department's programme for Further Education and Training. This thesis attempts to research and document the unique history of the FPMC, as well as studying the current functioning of the centre in order to serve as a guide and motivation for other music centres or -projects of a similar nature. / AFRIKAANSE OPSOMMING: Musiekgemeenskapsprojekte is deesdae ʼn algemene verskynsel in Suid-Afrika. Hierdie projekte begin gewoonlik met groot ambisie met die doel om minderbevoorregte gemeenskappe deur middel van musiekonderrig op te hef, maar as gevolg van verskeie redes gaan baie daarvan net so vinnig weer tot niet. Die Paarlse Frank Pietersen Musieksentrum (FPMS) wat onlangs sy veertigste bestaansjaar gevier het, het tydens sy bestaan deur diep waters gegaan, maar terselfdertyd ook vooruitgegaan. Tans is die FPMS ʼn gerekende instelling en die enigste van sy aard in die Drakensteindistrik. Die sentrum het tydens die vroeë Apartheidsjare in die Paarlse Bruin gemeenskap ontstaan, as gevolg van ʼn tekort aan musiekfasiliteite vir hierdie bevolkingsgroep. Aangesien musiek in daardie tyd een van die min aktiwiteite was waarin hierdie bevolkingsgroep hulself kon uitdruk, het daar verskeie musikale aktiwiteite ontstaan en het die behoefte aan formele musiekonderrig vir die Paarlse Bruin gemeenskap al hoe groter geraak. Mnr. Frank Pietersen het hierdie behoefte raakgesien en het in 1970 die Paarl Skole-Musieksentrum (PSMS) gestig. Hierdie musieksentrum het sterk ontwikkeling getoon, maar as gevolg van verskeie redes het dit in die laat tagtiger jare agteruitgegaan en het uiteindelik in 1988 ʼn periode van reses beleef. Na mnr. Pietersen se dood in 1989, het sy seun, mnr. Vaughan Pietersen besluit om die PSMS te laat herleef. Die PSMS het in Oktober 1991 sy 21ste bestaansjaar gevier en is by hierdie geleentheid vernoem na sy stigter en staan sedertdien bekend as die Frank Pietersen Musieksentrum. Sedertdien het die sentrum vele mylpale bereik en sy voortbestaan is verseker deur die oorname daarvan deur die Wes-Kaapse Onderwysdepartement in 1994. Tans bied die FPMS musiekonderrig aan skoliere èn volwassenes, binne en buite die grense van die Drakensteingebied. Onderrig word aangebied in byna al die instrumente van die Klassieke simfonie-orkes, asook Afrika-instrumente en Jazz-instrumente. Daar bestaan verskeie instrumentale ensembles en kore en die FPMS is veral bekend vir sy Jeugorkes. Die sentrum sien ook om na die behoeftes van die omliggende minderbevoorregte gemeenskappe deur middel van uitreikprogramme wat teen billike tariewe aangebied word. Die nuutste toevoeging tot die sentrum se onderrig is die aanbieding van die volwaardige Vakmusiekprogram vir skoliere, wat ook deel vorm van die Wes-Kaapse Onderwysdepartement se program vir Verdere Onderrig en Opleiding. Met hierdie tesis is gepoog om die unieke geskiedenis van die FPMS so deeglik as moontlik na te vors en op skrif te stel, asook om die huidige funksionering van die sentrum te belig sodat dit as riglyn en aanmoediging kan dien vir ander musieksentra of -projekte van ʼn soortgelyke aard.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner. / AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.