Thesis (MMus)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: It is widely accepted that the singer’s formant cluster (Fs) – perceptual correlates being twang and ring, and pedagogically referred to as head resonance – is the defining trait of a classically trained voice. Research has shown that the spectral energy a singer harnesses in the Fs region can be measured quantitatively using spectral indicators Short-Term Energy Ratio (STER) and Singing Power Ratio (SPR). STER is a modified version of the standard measurement tool Energy Ratio (ER) that repudiates dependency on the Long-Term Average Spectrum (LTAS). Previous studies have shown that professional singers produce more Fs spectral energy when singing in ensemble mode than in solo mode; however for amateur singers, the opposite trend was noticed. Little empirical evidence in this regard is available concerning undergraduate vocal performance majors. This study was aimed at investigating the resonance tendencies of individuals from the latter target group, as evidenced when singing in two performance modes: ensemble and solo. Eight voice students (two per SATB voice part) were selected to participate. Subjects were recorded singing their parts individually, as well as in full ensemble. By mixing the solo recordings together, comparisons of the spectral content could be drawn between the solo and ensemble performance modes. Samples (n=4) were extracted from each piece for spectral analyses. STER and SPR means were highly proportional for both pieces. Results indicate that the singers produce significantly higher levels of spectral energy in the Fs region in ensemble mode than in solo mode for one piece (p<0.05), whereas findings for the other piece were insignificant. The findings of this study could inform the pedagogical approach to voice-training, and provides empirical bases for discussions about voice students’ participation in ensemble ventures. / AFRIKAANSE OPSOMMING: Dit word algemeen aanvaar dat die singer’s formant cluster (Fs) – die perseptuele korrelate is die Engelse “twang” en “ring”, en waarna daar in die pedagogie verwys word as kopresonansie – die bepalende eienskap is van ’n Klassiek-opgeleide stem. Navorsing dui daarop dat die spektrale energie wat ’n sanger in die Fs omgewing inspan kwantitatief gemeet kan word deur die gebruik van Short-Term Energy Ratio (STER) en Singing Power Ratio (SPR) as spektrale aanwysers. STER is ’n gewysigde weergawe van die standaard maatstaf vir energie in die Fs, naamlik Energy Ratio (ER), wat afhanklikheid van die Long-Term Average Spectrum (LTAS) verwerp. Vorige studies het getoon dat professionele sangers meer Fs energie produseer in ensemble konteks as in solo konteks, in teenstelling met amateur sangers waar die teenoorgestelde die norm is. Min empiriese data in hierdie verband is beskikbaar, m.b.t. voorgraadse uitvoerende sangstudente. Hierdie studie is daarop gemik om die tendense in resonansie by individue uit die laasgenoemde groep te ondersoek, soos dit blyk in die twee uitvoerende kontekste: ensemble en solo. Agt sangstudente (twee per SATB stemgroep) is geselekteer om aan die studie deel te neem. Die deelnemers het hul stempartye individueel en in volle ensemble gesing, en is by beide geleenthede opgeneem. Deur die soloopnames te meng, kon vergelykings van die spektrale inhoud gemaak word tussen die solo en ensemble konteks. ’n Steekproef (n=4) is uit elke stuk onttrek vir spektrale analise. Die STER en SPR gemiddeldes was eweredig vir beide stukke. Resultate toon dat die sangers beduidend hoër vlakke van spektrale energie in die Fs omgewing produseer in ensemble konteks as in solo konteks vir een stuk (p<0.05), terwyl die bevindinge vir die tweede stuk nie beduidend was nie. Die bevindinge van hierdie studie kan belangrik wees vir die pedagogiese benadering tot stemopleiding, en lewer empiriese basis vir gesprekke oor die betrokkenheid van sangstudente in die ensemble bedryf.

Thesis (M.Mus.)--University of Stellenbosch, 2007. / ENGLISH ABSTRACT: Arnold van Wyk's monumental Night Music is regarded as one of the most important and original South African piano compositions. Night Music offers a legion of untapped timbre possibilities and certainly lends itself to the embodiment of the more expressive and versatile medium of the symphony orchestra. The orchestration of Night Music is an attempt to establish a version which, through utilizing a different medium of presentation, will elucidate Van Wyk's masterpiece and make it more accessible; not as a replacement of the original, but as an enhancement. / AFRIKAANSE OPSOMMING: Arnold van Wyk se monumentale Nagmusiek word as een van die belangrikste en oorspronklikste Suid-Afrikaanse klavierkomposisies beskou. Nagmusiek bied 'n legio onontginde timbremoontlikhede en leen hom dus beslis tot die vergestalting daarvan in die meer uitdrukkingsvolle en veelsydige medium van die simfonie-orkes. Die orkestrasie van Nagmusiek is 'n poging om 'n weergawe daar te stel wat by wyse van 'n ander uitbeeldingsmedium Van Wyk se meesterstuk toelig en meer toeganklik maak, nie as plaasvervanger van die oorspronklike nie, maar as verlengstuk daarvan.

Thesis (PhD)--Stellenbosch University, 2012. / Sensitive areas within this text have been blacked out. Please refer to the attachment. / ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated. / AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: The current study documents the procedures used by the South African Broadcasting Corporation (SABC) from 1974 to 1996 in the censorship of music. The disquisition argues that the SABC, as a national broadcaster, served as the most prominent censor of musical production and dissemination during that time. In addition, the study attempts to show that the censorship of music by the SABC was inherently connected with apartheid ideology in both moral and political terms but also that the SABC Acceptance Committees for radio broadcasts attempted to align themselves with more general state methods of censorship (although often inconsistent). This relationship, although not directly connected with the state censorship apparatus, functioned as the state's chief censor in the restriction of music. The study reports on a visit to the SABC Radio Library and Sound Archives in February 2012 and provides an analysis and discussion of documents found in the archive as well as how these findings relate to the broader arguments supplied in the thesis. / AFRIKAANSE OPSOMMING: Die huidige studie dokumenteer die prosedures wat deur die Suid-Afrikaanse Uitsaaikorporasie (SAUK) tussen 1974 en 1996 in die sensuur van musiek toegepas is. Die tesis argumenteer dat die SAUK, as nationale uitsaaier, tydens hierdie periode die belangrikste agent van musieksensuur was. Verder poog die studie om te bewys dat die sensuur van musiek deur die SAUK inherent met apartheidsideologie in beide morele en politiese terme verbind was, maar ook dat die SAUK Aanvaardingskommittees vir radio-uitsending probeer het om meer formele sensuurregulasies in stand te hou. Hierdie verhouding tussen die SAUK en die staat, alhoewel dit nie die SAUK direk met staatssensuur koppel nie, het beteken dat die SAUK as die staat se hoofsensor gefunksioneer het in die beperking van musiek. Die studie doen verslag van 'n besoek aan die SAUK Radio Biblioteek en Klankargiewe in Februarie 2012 en voorsien 'n uiteensetting en bespreking van dokumente wat in die agief gevind is, asook hoe hierdie bevindinge veband hou met die breër argument oor sensuur en musiek wat in die tesis ontwikkel word.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: This study represents a contribution to the literature on South African cello concertos. The term encompasses works created locally by composers who were visibly involved in the promotion of music in South Africa over a significant period. It appears that between the years 1893 and 2004 about 56 South African composers delivered a (provisional) total of 95 works in various genres for the medium. This study refers specifically to five concerto-type works, viz. those of Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) and Allan Stephenson (2004). The research method comprised facets such as background data, historical perspectives and complete technical descriptions of each work, and entails comments on the artistic and specifically “cellistic” attributes of each. This process led to the conclusion that the era of emergence (1942-2004) amply informs the style of each selected work, and that each allows a particular perspective regarding the personal stylistic conviction of the composer. Although Richard Cherry's Concertino is hardly significant in terms of its stature within cello literature, it nevertheless bears testimony to natural and proficient musicianship. Cherry’s own instrument, the bassoon, and his preferred genre, viz. ballet and incidental music, seem to have had a role in the creation of this piece. Allan Stephenson's Concerto – the only multi-movement work – appears even more archaic in some respects than that of Cherry: His preferred “classicist” style allows a cello approach reminiscent of classical masters like Boccherini and Haydn, featuring also a harmonic style aligned to English “pseudo-modality” and pentatonicism, with elements of 20th century entertainment music. The melancholy, lyrical Concerto of autodidact Bernard Langley represents a special and unusual addition to the genre. Stylistically the work pays homage to the English lyricism of composers such as Delius. The lack of inventiveness and skill apparent in the thematic treatment and orchestration renders the work somewhat cumbersome and static. Both Peter Klatzow's "pointillist” The Temptation of St. Anthony, after Hieronymus Bosch, and Roelof Temmingh's Concerto can be classified amongst the most worthy South African music to date. While Klatzow's work bears the stylistic stamp of the European avant-garde of the post-war era, thus placing it in his early middle period, that of Temmingh's discloses the mature, experienced artist in his later, more audience- friendly approach. These works are distinguished also by the nature of their artistic cast. Klatzow addresses primarily the artistic challenge of melody vs. sound effect, rather than attempting a “programmatic” evocation of the painting. The cello idiom is startlingly varied and expressive; the cello's difficult higher register is applied with riveting effect. By contrast, cellistic effects are clearly of secondary importance to Temmingh, who emphasises strong lyrical, but also sombre and humoristic moments. On occasion the octotonic basis suggests tonality, and the work is structured ingenuously with the inventive use of motivic ideas which evolve as themes (including two passacaglias). / AFRIKAANSE OPSOMMING: Hierdie studie lewer ‘n bydrae tot die literatuur oor Suid-Afrikaanse tjello-concerto’s. Daaronder word werke verstaan wat hier te lande ontstaan het, deur komponiste wat oor ’n beduidende tydperk heen sigbaar betrokke is of was by die bevordering van musiek in Suid-Afrika. Dit blyk dat daar tussen die jare 1893 en 2004 sowat 56 Suid-Afrikaanse komponiste ’n (voorlopige) totaal van 95 werke in verskillende genres vir die medium geskryf het, waarvan vyf konsertmatige werke in aanmerking gekom het vir dié studie. Hulle is dié van Richard Cherry (1942), Bernard Langley (1965), Peter Klatzow (1972), Roelof Temmingh (1992) en Allan Stephenson (2004). Die navorsingsmetode behels fasette soos agtergrondgegewens, historiese perspektiewe en volledige tegniese bekrywings van elke werk, terwyl ook kommentaar gelewer word oor die artistieke en spesifiek “tjellistiese” ingesteldheid van elk. In dié proses is tot die slotsom gekom dat die tydperk van ontstaan (1942-2004) in ’n ruim mate gereflekteer word in die styl van die gekose werke, en dat elk ’n heel bepaalde perspektief toelaat ten opsigte van die komponis se persoonlike stylbenadering. Richard Cherry se Concertino is weliswaar nie noemenswaardig in terme van tjellistiek nie, maar getuig nietemin van ’n deurleefde musikaliteit en musikale vakmanskap. Cherry se eie instrument, die fagot, en sy bevoorkeurde genre, nl. ballet- en bykomstige musiek skyn ook ’n rol te gespeel het in die wording van dié werkie. Allan Stephenson se Concerto – die enigste meerdelige werk – is in bepaalde opsigte selfs meer argaïes as dié van Cherry: Sy bevoorkeurde “klassisistiese” styl maak ruim voorsiening vir ’n tjellistiese benadering wat herinner aan dié van klassieke meesters soos Boccherini en Haydn, terwyl sy harmoniese styl die Engelse “pseudo-modaliteit” en pentatoniek beklemtoon, en ook 20ste-eeuse vermaaklikheidselemente nie afwesig is nie. Outodidak Bernard Langley verteenwoordig met sy somber-liriese Concerto ’n spesiale – en sonderlinge – bydrae tot die genre. Die werk is stilisties ’n hulde aan die Engelse liriek van bv. Delius. Deur die skynbare gebrek aan genoegsame vindingrykheid in sowel tematiek as orkestrasie-vaardighede kom die werk voor as moeisaam en staties. Beide Peter Klatzow se “pointillistiese” The Temptation of St. Anthony, after Hieronymus Bosch, en Roelof Temmingh se Concerto kan geld as die mees verdienstelike Suid-Afrikaanse werke tot op hede. Waar Klatzow se werk stilisties tekens dra van die Europese avant-garde van die na-oorlogse tyd, en dus behoort tot die komponis se vroeë middeljare, is Temmingh s’n dié van die ryper en ervare kunstenaar, verteenwoordigend van die komponis se latere, meer gehoorsvriendelike benadering. Wat die werke verder van mekaar onderskei is die aard van die artistieke stempel: In Klatzow se werk gaan dit primêr om die artistieke skeppingsuitdaging van melodie vs. klankeffek, eerder as om ’n “programmatiese” uitbeelding van die skildery. Die tjello-idioom is verrassend-veelsydig en ekspressief; dit is veral die tjello se veeleisende hoogste register wat gepas aandoen. Vir Temmingh, daarenteen, is tjellistiese effekte duidelik ’n bysaak, met die klem op sterk liriese, by tye ook sombere en humorvolle momente. Die oktotoniese grondslag maak selfs by geleentheid voorsiening vir tonale allures, en die struktuur van die werk is oorspronklik in die vindingryke gebruik van motiwiese kiemselle wat mettertyd ontvou as temas (waaronder twee passacaglias).

Thesis (M.Mus.)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: In South Africa there has been an increase over the last few years in audio engineering courses which include modules of study in audio post-production or even offer audio post-production as a major focus of study. From an academic standpoint however, and despite the growth in the local film industry, very little study of this field has been undertaken in South Africa until recently. In 2005, a MMus thesis was submitted at the University of KwaZulu-Natal entitled Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: online). The thesis briefly outlines the basic components of the soundtrack and focuses on describing and analysing the properties of ambience, a sub-section of sound effects. At Stellenbosch University, research has recently begun in the fields of film music and Foley (sound effects associated with human movement onscreen). The purpose of this thesis is to provide an overview of audio post-production and the contribution of sound to the film medium. It provides an outline of the processes involved in creating a soundtrack for film and includes a description of the components of the soundtrack and recommendations for practical application. / AFRIKAANSE OPSOMMING: Gedurende die afgelope paar jaar was daar ‘n toename in oudio-ingenieurskursusse, insluitend studiemodules in oudio post-produksie, en selfs ‘n aanbod vir modules in post-produksie as hoofstudierigting. Desnieteenstaande, en ten spyte van die groei in die plaaslike filmindustrie is tot onlangs min akademiese studies op dié terrein in Suid-Afrika onderneem. In 2005 is ‘n MMus-tesis aan die Universiteit van KwaZulu-Natal voorgelê, met die titel Acoustic Ambience in Cinematography: An Exploration of the Descriptive and Emotional Impact of the Aural Environment (Turner, 2005: aanlyn). Hierdie tesis gee ‘n basiese oorsig oor die basiese komponente van die klankbaan, en fokus op die beskrywing en analise van die eienskappe van ambience – ‘n onderafdeling van klankeffekte. By die Universiteit van Stellenbosch is onlangs ‘n begin gemaak met navorsing oor die terreine van filmmusiek en Foley, d.w.s. klankeffekte geassosieer met menslike bewegings op die skerm.. Hierdie tesis beoog om ‘n oorsig te gee van oudio post-produksie en die bydrae van klank tot die filmmedium. Dit verskaf ‘n oorsig oor die prosesse betrokke by die daarstelling van ‘n filmklankbaan en sluit ook in ‘n beskrywing van die komponente van die klankbaan en aanbevelings vir die praktiese toepassing daarvan.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Die Oranjeklub was the first Afrikaans culture organisation in Cape Town. Active since 1915, it strove to shape Afrikaner identity and advance Afrikaner art and culture. The main aim of the club was to inspire national sentiment, especially among young Afrikaners, and to help cultivate a love in this constituency for their language and history. This national sentiment was nourished by meetings of social and cultural significance. In this respect, Die Oranjeklub played an integral role in early twentieth-century Cape Town to oppose a perceived English political and cultural supremacy, acting as a buffer against the so-called ‘ver-Engelsing’ or Anglicization that was seen to threaten the identity of especially urban Afrikaners. Programmes during meetings usually comprised of a speech, supplemented by music and recital items that were generally contributed by Afrikaans club members. Meetings that deviated from this norm were mainly evenings where plays were performed or festivaloccasions of national importance in which the club was actively involved. The club’s management comprised two levels: an honorary committee and an executive committee. Many historically important figures served on the honorary-committee. The list includes names like D.F. Malan, J.B.M. Hertzog, C.J. Langenhoven and J.C. Smuts, amongst others. The executive committee had equally noteworthy chairmen, like the writer I.D. du Plessis and the critic C.H. Weich. The names of many important musicians can be found on club programmes, including Arnold van Wyk, Blanche Gerstman and Stefans Grové. Important actors and role players in theatre also participated in club events, amongst others Anna Neethling-Pohl, N.P. van Wyk Louw and Sarah Goldblatt. Speakers included personalities like D. Craven, C. Barnard and P.W. Botha. In 1976, after many decades trying to advance culture among white Afrikaners in Cape Town, the club was disbanded. This thesis documents, for the first time, the history of Die Oranjeklub. It also considers the meaning of the club’s cultural activities, especially its efforts to advance music among its members.

Thesis (M. Mus.)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: The research for this thesis was conducted because many educators in the South African education system are not equipped to teach Arts and Culture to primary and secondary learners because of a lack of resources and skills. The researcher tries to determine whether traditional songs of the Cape could lay the foundation to understand the origin, functions and dynamics of a culture, as well as the capacity to use creative arts- and cultural processes to develop one's self-image and promote spiritual well-being. The main aim of this study was to determine whether educators can be empowered by providing them with the necessary skills to teach Arts and Culture by means of the integration and implementation of traditional songs of the Cape in the classroom as resource materials when planning a curriculum. Arts and Culture educators were empowered to equip themselves to be able to teach learners to understand, acknowledge and promote the arts and unknowncultural practices such as traditional songs of the Cape. The researcher based the component of the Empowerment Training she was responsible for on the requirements for Participatory Action Research: Awareness, Emancipation, A learning strategy for participants and the development of independence. The results of this thesis are based on two projects the researcher participated in. The main aim of the first project, "Mother's Milk, Mother's Muse" that was initiated by Professor Meki Nzewi of the University of Pretoria, was to collect traditional songs, games, legends and stories of the Cape. These materials are available on CD and DVD and included in this thesis. These were then used in the second project as resources to equip Arts and Culture educators with a variety of skills, which include the teaching of songs, during the Advanced Certificate in Education (Arts and Culture) at the University of Stellenbosch, offered since 2005. This thesis is a compiliation of how Arts and Culture educators were empowered to use and implement these materials in the learning area by the component in the ACE course for which the researcher was responsible. / AFRIKAANSE OPSOMMING: Die feit dat baie opvoeders weens ongebrek aan hulpbronne en vaardighede nie volledig toegerus is om die leerarea Kuns en Kultuur aan leerders op primere- en sekondere vlak aan te bied nie, het aanleiding gegee tot die navorsing vir hierdie tesis. Die navorser stel ondersoek in om te bepaal of tradisionele Kaapseliedere as basis sou kon dien vir on begrip van die oorsprong, funksies en dinamiese aard van kultuur, asook van die vermoe om kreatiewe kuns en kulturele prosesse te benut om 'n selfbeeld te ontwikkel en geestelike gesondheid te bevorder. Die doel van hierdie ondersoek was om vas te stel of opvoeders bemagtig kon word deur hulle toe te rus met basiese onderrigtegnieke om die leerarea Kuns en Kultuur te kan aanbied, deur die integrasie en implementering van tradisionele KaapseIiedere in die klaskamer en die insameling van liedere as hulpbronne wat tot opvoeders se beskikking is tydens kurrikulumbeplanning. Bemagtigingsopleiding is aan Kuns en Kultuur-opvoeders gebied ten einde hulself toe te rus om leerders te kan touwys maak hoe om die kunste asook kulturele vorms en gebruike wat histories nie erkenning kry nie, in hierdie geval tradisionele Kaapseliedere, te erken, verstaan en bevorder. Riglyne vir Deelnemende Aksie Navorsing, naamlik bewusmaking, emansipasie, 'n leerstrategie vir deelnemers en die ontwikkeling van selfstandigheid is as basis gebruik vir die bemagtigingsopleiding. Die navorser was betrokke by twee projekte waarop die resultate van hierdie tesis gebaseer is. Die hoof doeI van die eerste projek, "Mother's Milk Mother's Muse", was om tradisionele Kaapse liedere, speletjies, legendes en stories in te samel. Tydens die tweede projek, die Gevorderde Onderwyssertifikaat (Kuns en Kultuur) wat vanaf 2005 by die Universiteit Stellenboseh aangebied word, is die ingesamelde materiaal onder andere gebruik om verskillende tegnieke, waaronder die aanleer van liedere, aan opvoeders te demonstreer. Die materiaal wat ingesamel is, is op CD en DVD by hierdie tesis ingesluit. Hierdie tesis is onsamevatting van die maniere waarop Kuns en Kultuur-opvoeders deur middel van die komponent waarvoor die navorser in die GOS-program verantwoordelik was bemagtig is om hierdie materiaal te ontgin en in die leerarea te implementeer.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The initiation and establishment of community music projects have been increasing in number in South Africa in the last decade due to the growing interest in these projects’ beneficial outcomes. Music education, music activities and a myriad of opportunities through music are provided to under-privileged communities who would otherwise be deprived thereof. The Redefine Music Education Project is a community music project situated in Kuils River and which draws learners from local impoverished communities and townships. The efficient management of project, staff and learner commitment, and community involvement has resulted in various project and learner achievements. However, it has also undergone several setbacks and faces frequent challenges. Due to the Redefine Music Education Project’s success rate and sustained years of operation, it is considered as one of the Western Cape’s reputable community music projects. This research study sets out by evaluating the need and role of a community music project in disadvantaged communities as well as describing the qualities that make a community music project successful. The research uncovered the impact that such a project has on the individual and on local communities in the Western Cape. A noteworthy result of the study is the fact that it serves as guidance and motivation to other operating and upcoming community music projects. It also provides and opens further opportunities of study and research regarding music in the community. / Die inisiëring en vestiging van gemeenskaps-musiekprojekte het in die laaste dekade in Suid-Afrika toegeneem vanweë die groeiende belangstelling in die voordelige uitkomste van hierdie projekte. Hierdie projekte bied musiekopvoeding, musiekaktiwiteite en ontsluit geleenthede deur musiek aan minder bevoorregde gemeenskappe wat andersins nie daarmee in aanraking sou kom nie. Die Redefine Music Education Project is 'n gemeenskaps-musiekprojek geleë in Kuilsrivier. Die projek staan grootliks in diens van leerders uit plaaslike verarmde gemeenskappe en townships. Die doeltreffende bestuur van die projek, personeel en leerder-toewyding, en gemeenskapsbetrokkenheid het verskeie projek- en leerderprestasies tot gevolg gehad. Die projek het egter ook verskeie terugslae ervaar en staar voortdurende uitdagings in die gesig. As gevolg van die Redefine Music Education Project se suksesse en die hoeveelheid jare wat dit reeds bestaan, word dit gereken as een van die Wes-Kaap se maatgewende gemeenskaps-musiekprojekte. Hierdie navorsing evalueer die behoefte aan en rol van 'n gemeenskaps-musiekprojek in minder bevoorregde gemeenskape. Dit ondersoek ook die kwaliteite wat so 'n projek help om suksesvol te wees. Die navorsing toon uiteindelik ook die impak wat so 'n projek op individue en op plaaslike gemeenskappe in die Wes-Kaap het. 'n Betekenisvolle resultaat van die studie is dat dit as gids en motivering dien vir ander huidige en toekomstige gemeenskaps-musiekprojekte. Dit beskryf ook verdere geleenthede vir studie en navorsing ten opsigte van musiek in die gemeenskap.