Thesis ( MMus (Music))--University of Stellenbosch, 2007. / Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.

Thesis (MMus) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This dissertation is an account of Paul Hindemith's life between 1919 and 1939 with special reference to his compositional development through the three sonatas for viola and piano. The introduction to the dissertation initially provides a list of Hindemith's vast output for the viola followed by insight into the reason and need for undertaking this research, literary sources used and their function in the context of this study and the conclusion that there is a lack of extant research on the three sonatas for viola and piano. This is followed by comments on Hindemith as a viola player and composer, supported by opinions of scholars and performers. An overview of the contents and aim of the dissertation completes the introduction. This first of the two comprehensive chapters briefly discusses Hindemith's character traits as viewed by a number of scholars and continues by introducing the political, social and financial circumstances in Germany in 1919. The chapter progresses into a division of the period 1919-1939 into six sub-sections of dates within this time span. Each section focuses on the political, financial and musical circumstances in Hindemith's life, with special attention given to the periods of greatest change and conflict. Included in this chapter are also the specific circumstances surrounding the composition, first performances and publication of the three sonatas for viola and piano, alongside mention of other works written at the same time. This is supported by references and quotations from correspondence between Hindemith and his wife, colleagues and friends, as well as translations of newspaper articles, letters and articles which thus far have not been translated into English. Special attention is given to possible reasons for the late publication of op.25 no.4 in 1977. Chapter 2 looks deeper into the significance, success and development of Hindemith through these three works. His stylistic development beginning with the influences of Debussy and Reger, his identification with the 'Neue Sachlichkeit' until the beginning of his later conservatism can be seen clearly in these three works. The aim of the study is to assimilate the available information into an accurate and coherent picture of the composer's life and stylistic development between 1919 and 1939 in a way that has not been presented before. It is my intention through this work that the unique style of the sonatas as well as their important place in the viola repertoire is apparent, and consequently of interest to other viola players, hopefully encouraging them to play the works themselves. / AFRIKAANSE OPSOMMING: In hierdie tesis word Paul Hindemith se lewe tussen 1919 en 1939 beskryf, met spesiale verwysing na sy ontwikkeling as komponis soos dit waargeneem kan word in die drie sonates vir altviool en klavier. Die inleiding tot die tesis verskaf 'n lys van Hindemith se omvangryke oeuvre vir die altviool, gevolg deur 'n motivering waarom hierdie studie onderneem word. Die omvattende literatuurstudie dui daarop dat daar tot op datum baie min navorsing oor die drie altvioolsonates gedoen is. Vervolgens word kommentaar gelewer op Hindemith as altviolis en komponis, ondersteun deur opinies van uitvoerende kunstenaars en musikoloë. 'n Oorsig oor die inhoud en die doelstellings van die tesis sluit die inleiding af. Die eerste van die twee omvattende hoofstukke begin met 'n bespreking van Hindemith se karakter, gevolg deur 'n oorsig oor die politieke, sosiale en ekonomiese omstandighede in Duitsland rondom 1919. Die tydperk 1919-1939 word dan in ses onderafdelings verdeel. Elke onderafdeling plaas die fokus op spesifieke politieke, finansiële en musikale omstandighede in Hindemith se lewe. Die jare waarin konflik en verandering op besondere wyse na vore tree word meer omvattend bespreek. Teen die agtergrond van ander werke uit hierdie tyd word die spesifieke omstandighede rondom die komposisie, eerste uitvoering en publikasie van die drie altvioolsonates in detail beskryf. Dit word aangevul deur verwysings na en aanhalings uit korrespondensie tussen Hindemith en sy vrou, kollegas en vriende, sowel as deur vertalings van koerantartikels en briewe wat tot dusver nog nie in Engels beskikbaar was nie. Hoofstuk 2 plaas die klem op Hindemith se stilistiese ontwikkeling, soos dit in the drie sonates waargeneem word. Die sonates illustreer Hindemith se ontwikkeling vanaf sy bewondering vir Debussy en Reger, oor sy vereenselwiging met die ideale van die 'Neue Sachlichkeit' tot by die meer konservatiewe benadering wat hy later gevolg het. Hierdeur word gepoog om die unieke waarde van die sonates, asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel. Die doel van die studie is dus om die beskikbare inligting tot 'n samehangende en akkurate beeld van die komponis se lewe en stilistiese ontwikkeling tussen 1919 en 1939 te voeg op 'n wyse wat nog nie voorheen gedoen is nie. Hierdeur word gepoog om die unieke waarde van die sonates asook die belangrike plek wat hulle in die algemene altvioolrepertorium beklee, te beskryf. Hopelik sal die studie die belangstelling van altvioliste wek en hulle aanmoedig om die werke ook self te speel.

Thesis (MMus) -- University of Stellenbosch , 2005. / ENGLISH ABSTRACT: In his lifetime Reger was under constant pressure to prove his musical abilities as a composer. With their subjective opinions numerous critics systematically damaged his reputation. In this thesis the focus will be on the Bach- Variations op. 81, a work that probably contributed mostly to the extensive polemic around Reger's style, but also a work that shows his uniqueness and importance as a composer. Op. 81 is a large-scale work that, in my opinion, is unfairly underestimated. This may be due to the fact that it has not yet gained its rightful place in the repertoire. The purpose of my study is to make a positive contribution that hopefully can lead to greater appreciation of Reger and his music. The thesis starts by shedding light on Reger's complex personality and overall living circumstances, as well as on the situation of composition in the early 20th century. It partly consists of a shortened biography, followed by a commentary on the Bach- Variations. Finally a comparison is made between the autograph of op. 81, the printed proof copy (1904), the first edition in 1904, and the Complete Works edition of 1959. / AFRIKAANSE OPSOMMING: In sy eie lewe moes Reger deurgaans veg sodat sy musiek deur die publiek aanvaar kon word. Kritici het met hul subjektiewe menings redelike skade berokken, wat die ontwikkeling van sy reputasie as komponis bemoeilik het. In hierdie tesis word daar gefokus op Reger se Bach- Variasies op. 81, 'n werk wat miskien meer as enige andere bygedra het tot die groot polemiek rondom Reger se styl, maar ook 'n werk wat sy uniekheid en waardigheid as komponis sou bewerkstellig. Op. 81 is 'n grootskaalse werk, wat volgens my mening onderskat word. Miskien is dit weens die feit dat dit nie genoeg bekendheid verwerf het tot op hede nie. Die doel van my studie is dus om 'n positiewe bydrae te maak wat hopelik kan lei tot groter waardering vir Reger en sy musiek. Die tesis begin deur lig te werp op Reger se komplekse persoonlikheid en algemene lewensomstandighede, asook op die stand van komposisie in die vroee jare van die 20ste eeu. Dit bestaan dus deels uit 'n verkorte biografie, gevolg deur 'n bespreking van die Bach- Variasies. Ten slotte word daar 'n vergelyking getref tussen die op. 81-outograaf, die gedrukte proefkopie (1904), die eerste druk in 1904, en die volledige uitgawe van 1959.

Thesis / ENGLISH ABSTRACT: The aim of this study is to contribute to the investigation of the methods in which serial technique expresses meaning in the first movement of Arnold Schoenberg's Third Quartet, Op.30. It aims to add to the debate concerning Schoenberg's use of conventional formsparticularly sonata form-in his serial music, by investigating how he manipulates the row to playa narrative function, seemingly in opposition to its homogeneous nature. The analytical section consists of a semiotic analysis based on the work of Jean- Jacques Nattiez. It incorporates a narratological analysis which infers from the semiotic data that Schoenberg's "idea", which is associated with notions of unity, is brought towards fulfilment through his narrativization of the row in the context of sonata form. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is om by te dra tot die ondersoek na die metodes met behulp waarvan seriële tegniek "betekenis" tot uitdrukking bring in Arnold Schoenberg se derde strykkwartet, op. 30. Dit poog om 'n bydrae te lewer tot die debat oor Schoenberg se gebruik van konvensionele vorms-in besonder sonatevorm-in sy seriële musiek te ondersoek, deur middel van manipulasies van die reeks in diens van 'n narratiewe funksie, oënskynlik in teenstelling met die homogene aard van die reeks. Die analitiese gedeelte van die studie bestaan uit 'n semiotiese analise gebaseer op die werk van Jean-Jacques Nattiez. Hierby word ingesluit 'n narratologiese analise waarin vanuit die semiotiese data afgelei word dat Schoenberg se "idee", wat geassosieer word met opvattings van eenheid, tot 'n slotsom gebring word deur middel van sy narrativering van die reeks in die konteks van sonatevorm.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: As a recent graduate, I feel that young educators are graduating from South African universities and are teaching in schools without adequate knowledge of the various learning disabilities and behavioural disorders that many children suffer from. In the context of the Arts & Culture or music classroom, educators especially suffer as they are taught to encourage creativity. However, how can one differentiate between creative behaviour and disruptive behaviour and be certain that bad behaviour is not a symptom of a behavioural disorder? Upon graduation and starting to teach in the southern suburbs in the Western Cape, the researcher was struck by the number of children diagnosed with behaviour disorders and taking the stimulant medication Ritalin. Yet the notion of medicating a child for a behavioural disorder is not agreeable to many parents and educators to whom the researcher has spoken while researching this topic. The general feeling seems to be that a child should be given space to be creative, but a teacher cannot control a class of at least twenty-five children who are all claiming their own creative rights. This research explores various steps that a music educator can take to control a class of both medicated and non-medicated learners. The effects of music on the behaviour of learners diagnosed with Attention Deficit Disorder (abbreviated to ADD) have been investigated in various ways over the years and these are described in this thesis. Likewise, information on various prescription medications and non prescription medications that are available in South Africa are presented to offer options to an educator/parent faced with a child demonstrating behavioural problems. There is also substantiation that by increasing the intake of essential fatty acids and adjusting a child’s diet, one can positively enhance behaviour and concentration. The researcher discusses the various foods that should be avoided and those should be enjoyed generously. The researcher observed learners who were considered problematic in the general classroom in the form of observation of behaviours before and after each musical activity. Class educators were asked to assist the researcher by further observing the selected children’s behaviour in the following lesson. / AFRIKAANSE OPSOMMING: As ‘n onlangsgegradueerde, voel ek dat jong onderwysers aan Suid-Afrikaanse universiteite afstudeer en onderrig in skole begin gee sonder voldoene kennis van die verskeie leergestremdhede en gedragsafwykings waaraan ‘n groot hoeveelheid kinders ly. In die konteks van die Kuns en Kultuur of musiekklaskamer is dit vir onderwysers besonder moeilik omdat hulle geleer is om kreatiwiteit aan te moedig. Die probleem is hoe om te onderskei tussen kreatief en ontwrigtende gedrag en hoe om seker te wees of slegte gedrag nie ‘n simptoom van ‘n gedragsafwyking is nie. Na graduering en die begin van haar onderrigloopbaan in die suidelike voorstede van die Wes-Kaap is die navorser getref deur die getal kinders wat die stimulant medikasie Ritalin gebruik. Tog sou die meeste ouers en onderwysers waarmee die navorser gepraat het gedurende haar navorsing nie die gebruik van medikasie vir gedragsafwykings verkies nie. Die algemene gevoel is dat die kind die geleentheid gegun behoort te word om kreatiefe te wees, maar ‘n onderwyser kan nie ‘n klas van minstens vyf-en-twintig kinders onder beheer hou wat almal hul kreatiewe regte eis nie. Hierdie navorsing ondersoek verskillende stappe wat ‘n musiekonderwyser kan neem om ‘n klas te beheer met leerlinge wat op en sonder medikasie is. Die effek van musiek op die gedrag van leerlinge wat gediagnoseer is met Aandagafleibaarheidsindroom (afgekort na AAS) is reeds in verskeie vorme oor die jare ondersoek en word in hierdie tesis beskryf. Inligting aangaande verskeie voorskrif en nie-voorskrif medikasie wat in Suid-Afrika beskikbaar is, word verskaf om opsies te gee vir ‘n opvoeder/ouer wat gekonfronteer word met ‘n kind wat gedragsprobleme demonstreer. Daar is ook bewyse dat deur om die inname van essensiële vetsure te verhoog en ‘n kind se dieet aan te pas, gedrag en konsentrasie positief beinvloed kan word. Die navorser bespreek die verskeie kossoorte wat vermy behoort te word teenoor dié wat vryelik geniet kan word. Die navorser het leerlinge waargeneem wie se gedrag as problematies in die algemene klaskamer beskou was, voor en na elke musikale aktiwiteit. Klasonderwysers is gevra om die navorser by te staan deur verdere waarneming van die kinders se gedrag in die volgende les.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis explores the rise and development of electric bowed instrument groups in South Africa. The objective was to provide a history of the development of such groups in South Africa, as well as to compare the methods and musical products of these groups. Another aim was to explore the effects of the groups on the South African music industry and music education. An initial literature research on the history of electric bowed instruments and the phenomenon of classical crossover music as a genre provided the contextual information needed to understand the building blocks of this relatively young compartment of the music industry. Characteristics and marketing strategies of this genre are discussed as well as the impact of aesthetics and gender on classical crossover artists. A set of questionnaires was distributed amongst members of these groups, classical professional musicians in professional South African orchestras, members of electric bowed instrument groups in South Africa, tertiary music students and students at a music school, as well as audience members at an electric bowed instrument group concert. The questionnaires were taken to the Centre for Statistical Consultation at the Stellenbosch University Statistics Department and the processed results were applied to this study. The influence of such groups on South African music education as well as the South African music industry is then examined. The combination of electric bowed instrument and classical crossover music gave birth to the phenomenon of electric bowed instrument groups. In this thesis the “originality” of such artists was evaluated, as a distinct pattern or formula for forming and operating such groups has materialised. The South African electric bowed instrument groups attempt to incorporate a uniquely South African quality into their performances with varying levels of success. Members of such groups, as well as professional classical musicians in the country, believe that the existence and performances of these groups have had an impact on South African music education; however, this theory is proven incorrect in this thesis. Furthermore, it was found that electric bowed instrument groups could have a negative impact on classical music in South Africa, as their marketing directed at the public may unintentionally steer audiences away from classical music performances. The electric bowed instrument groups industry has shown enough growth to prove its sustainability in South Africa as well as internationally. It is a valuable additional occupation for bowed instrument players in South Africa, although it might have a detrimental impact on the South African classical music industry. / AFRIKAANSE OPSOMMING: In hierdie tesis word die ontstaan en ontwikkeling van elektriese strykinstrument groepe in Suid Afrika ondersoek. Die doel van die studie is om ʼn geskiedenis van sulke groepe te lewer, sowel as om die bestuur metodes en musiek van sulke groepe te vergelyk. Verder word die effekte van hierdie groepe in Suid Afrika op musiekopvoeding en die Suid Afrikaanse klassieke musiek bedryf ondersoek. ʼn Literatuur ondersoek van die geskiedenis van elektriese strykinstrumente en die fenomeen van klassieke “crossover” musiek as ʼn genre, het nodige agtergrond informasie ten opsigte van die boublokke van so ʼn relatiewe jong afdeling in die musiekbedryf verskaf. Kenmerke en bemarkingstrategieë van hierdie genre is bespreek, sowel as die klem van estetika en geslag op klassieke “crossover” musikante. ʼn Stel vraelyste is uitgedeel onder professionele klassieke musikante in Suid Afrika, lede van Suid-Afrikaanse elektriese strykinstrument groepe, tersiêre musiekstudente, studente by ʼn musiekskool sowel as ʼn gehoor by ʼn elektriese strykinstrument groep uitvoering. Die vraelyste was geneem na die Sentrum vir Statistieke Konsultasie aan die Universiteit van Stellenbosch, en die verwerkte resultate was toegepas op die studie. Die invloed van hierdie groepe op Suid Afrikaanse musiekopvoeding, sowel as die Suid Afrikaanse musiekbedryf word in hierdie studie bespreek. Die kombinasie van elektriese strykinstrumente en klassieke “crossover” musiek het gelei tot die ontstaan van elektriese strykinstrument groepe. In hierdie tesis word die uniekheid van sulke groepe bevraagteken, oordat ʼn patroon of formule vir die formasie en bestuur van sulke groepe te voorskyn gekom het. Die Suid Afrikaanse elektriese strykinstrument groepe wend ʼn poging aan om ʼn unieke Suid Afrikaanse persona aan hulle optredes te gee, met wisselende vlakke van sukses. Lede van hierdie groepe, sowel as professionele klassieke musikante in Suid Afrika glo dat die bestaan van elektriese strykinstrument groepe en hul uitvoerings ʼn invloed het op die Suid Afrikaanse musiekopvoedkunde. In die studie is hierdie hipotese egter onwaar bevind. Verder, is dit bevind dat elektriese strykinstrument groepe ʼn moontlike negatiewe effek op die Suid Afrikaanse klassieke musiek bedryf kan hê, aangesien hulle bemarking tot die publiek mag onopsetlik gehore weg stuur vanaf klassieke musiek uitvoerings. Die elektriese strykinstrument groep industrie toon genoeg ontwikkeling en groei in Suid Afrika en op internasionale vlak om hul toekoms in die musiekindustrie te bevestig. Sulke groepe is waardevolle addisionele werksgeleenthede vir strykers in Suid Afrika, alhoewel die fenomeen moontlike negatiewe impak op die Suid Afrikaanse klassieke musiekindustrie mag hê.

Thesis (MMus)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: UShaka KaSenzangakhona is a work of about sixty minutes for choir, soloists and orchestra, composed by Mzilikazi Khumalo, orchestrated in 1994 by Christopher James and revised in 1996 by Robert Maxym. The composition is a setting of a Zulu text by Themba Msimang. The racial and cultural differences between UShaka’s three authors bring binaries into play that define certain aspects of the composition. UShaka’s main developmental trajectory (1982-1996) places it within a volatile political space and time in South Africa‟s recent history. Somewhere, hanging in an unstable balance between these diverse factors, exists a musical work that is struggling to find a voice. This thesis highlights these factors by critically evaluating two aspects of UShaka’s existence, namely its authorship and ownership under Khumalo, James and Maxym. This is achieved through thorough quantitative score analyses of the original composition and its two orchestrations. Results of the analyses are used to draw conclusions about the contributions of each of its three authors to the final musical product. By implication of the findings produced by the analyses, broader themes within South African musicology are touched on and highlighted in new and meaningful ways. / AFRIKAANSE OPSOMMING: UShaka KaSenzangakhona is `n komposisie van sowat sestig minute geskryf deur Mzilikazi Khumalo vir koor, soliste en orkes. Die werk is in 1994 georkestreer deur Christopher James en in 1996 hersien deur Robert Maxym. Die skrywer van die werk se teks is Themba Msimang. Die rasse- en kultuurverskille wat Ushaka se outeurs kenmerk bring binêre binne spel wat sekere eienskappe van die werk se bestaan definieer. Die komposisie se hoof ontwikkelingstrajek (1982-1996) plaas dit binne 'n ongestadige politieke ruimte in Suid-Afrika se onlangse geskiedenis. Ushaka sukkel om binne hierdie diverse faktore 'n stem van sy eie te ontdek. Die tesis vestig aandag op hierdie faktore deur 'n kritiese verkenning te onderneem van twee aspekte van Ushaka se bestaan, naamlik outeurskap en eienaarskap. Dit word behartig met deeglike kwantitatiewe analise van die bladmusiek van die oorspronklike komposisie asook beide orkestrasies. Resultate wat verkry word vanuit die analise word gebruik om gevolgtrekkings te maak gaande die bydraes van elke outeur tot die uiteindelike komposisie. By implikasie kan die bevindinge gebruik word om op nuwe en betekenisvolle wyses aan breër onderwerpe te raak binne die Suid-Afrikaanse veld musikologie.

Thesis (MMus)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This thesis investigates the impact that a musical score can have on the visual component as well as the final product of a film. This is achieved by the use of a systematic analytical approach that covers the most important aspects of the visual and musical elements within Vertigo. The film is regarded as one of cinema’s greatest examples of excellence. The many levels of meaning, inspired use of cinematographic techniques, meticulously crafted narrative and dynamic score combine to create a film unlike any other. The analysis of Vertigo is achieved by selecting specific scenes that contain important visual and musical elements essential to the narrative. The visual and musical aspects of each scene are analysed separately before the relationship between them is studied. Following this, the results of the analysis are summarised within the larger context of the narrative and conclusions are drawn regarding the music’s influence on the visual aspects of the film as well as its role in the ultimate narrative success of Vertigo. / AFRIKAANSE OPSOMMING: Hierdie verhandeling kwantifiseer die impak wat ‘n partituur kan uitoefen op die visuele aspekte en eindproduk van ‘n film. Dit word bereik deur die gebruik van ‘n sistematiese analitiese benadering wat die hoofaspekte van die visuele en musikale elemente in Vertigo ondersoek. Vertigo word beskou as een van die filmkuns se beste voorbeelde van uitnemendheid. Die komplekse betekenisvlakke, die geïnspireerde gebruik vakinematografiese tegnieke, die uitmuntende storielyn en die dinamiese partituur kombineer om ‘n unieke film te skep. In die ontleding van spesiale tonele met visuele en musikale elemente wat ‘n noodsaaklike bydrae lewer tot die sukses van die storielyn, kan Vertigo analiseer word. Die visuele en musikale aspekte van elke toneel word eers individueel bestudeer voordat die verhouding tussen die elemente analiseer word. Daarna word die resultate saamgevat binne die raamwerk van die storielyn en kan daar tot ‘n gevolgtrekking gekom word oor musiek se invloed op die visuele aspekte van die film en die rol wat musiek gespeel het in die beslissende sukses van Vertigo.

Thesis (MMus) – Stellenbosch University, 2014. / ENGLISH ABSTRACT: The sonata for violin and piano has a well-deserved place within chamber music in South Africa. It has always been one of the most prominent chamber music genres within Western art music. Between 1800 and 1900 this genre took up 21% of all composed sonatas at the time. This study provides insight into the situation in South Africa about 100 years later and it provides a critical text analysis of three violin sonatas by three of the most prominent composers of art music in South Africa. These composers are Roelof Temmingh (1993), Peter Klatzow (1996) and Hendrik Hofmeyr (2008). These are the only sonatas for violin and piano written by these three composers. There is a limited amount of violin sonatas in South Africa. A list acquired from SAMRO, statistically the most reliable source of worklists in South Africa, contains only eleven sonatas for violin and piano. These do not even include the violin sonatas of Temmingh and Hofmeyr. The limited amount of sources forces a unique aspect of research method, namely conversations with two of these composers themselves (Klatzow and Hofmeyr). This primary source of information from the two living composers assisted in the analysis of the music. European influences can be seen in all three of these sonatas. The three composers adapt and transform the music to fit their individual use of sonata form. Each of these three works contains three movements, as is customary with traditional sonata form. The second movements function as intermezzi, that leads the narrative through from the first to the last movement. Each of the three composers have their own unique sense of tonality and thematic use. Temmingh uses a main theme that resurfaces throughout the three movements – leading the whole work to sound like one large movement. Klatzow uses complicated thematic structures and thick textures. From these thematic material he extracts smaller parts later in the movement to recapture the essence of the main theme complex and to add unity to the work as a whole. Hofmeyr uses carefully planned structures and this makes his sonata the most structured of the three. His textures are thick and his tessituras are wide, and he is the only one of the three composers who uses key signatures. Like Temmingh he also makes use of a main motto-theme that resurfaces in the last movement adapted to fit the movement’s structure. In terms of the traditional use of form structure these three sonatas fit the 19h century conventions. The main outcome of this study is to introduce these works to especially the younger generation of performers in South Africa. / AFRIKAANSE OPSOMMING: Soos menige ander kunsmusiek-genre het ook die (begeleide) vioolsonate ‘n stewige plek in die Suid-Afrikaanse musiek verkry. Die sonate vir viool en klavier is een van die mees prominente kamermusiek-genres in Westerse kunsmusiek. Tussen 1800 en 1900 was soveel as 21% van alle sonates, werke vir viool en klavier. Dit is dus van spesiale belang om kennis te neem ten opsigte van hierdie situasie in Suid-Afrika ongeveer 100 jaar later. Die kern van hierdie tesis is ‘n stylkritiese teksanalise van drie Suid-Afrikaanse vioolsonates deur drie prominente Suid-Afrikaanse komponiste, nl. Roelof Temmingh (1993), Peter Klatzow (1996) en Hendrik Hofmeyr (2008). Met uitsondering van ‘n sonate vir solo viool deur Klatzow, is hierdie werke die enigste vioolsonates deur dié komponiste. Daar is ‘n beperkte aantal vioolsonates in Suid-Afrika. Selfs by SAMRO, wat ‘n aanvaarde statistiese bron van die werkslyste van komponiste in Suid-Afrika is, is daar slegs elf vioolsonates op rekord (dit sluit die vioolsonates van Temmingh en Hofmeyr uit). Die skaarste aan bronne wat oor dié onderwerp handel, dwing die navorser om onderhoude met die oorlewende twee komponiste te voer. Dit is uniek om musiek te kan bespreek met die komponis daarvan. Hierdie primêre bron van inligting vertoon unieke insigte, wat ‘n invloed op die analises van die musiek gehad het. Europese invloede is by al drie komponiste sigbaar. Die toepassings van die struktuurelemente van sonatevorm kom by al drie komponiste voor. Al drie werke is driedelig en die eerste bewegings is almal in aangepaste sonatevorm. Die tweede bewegings vorm deel van ‘n deurloop (ter ondersteuning van die narratief) na die laaste beweging toe en die laaste bewegings sorg by elke werk vir ’n unieke vorm van “konflikoplossing”. Al drie komponiste toon hul eie spesifieke sin vir tonaliteit en tematiek. Temmingh se sonate loop amper as ‘n eenbewegingstruktuur, deur middel van ‘n “motto”-tema, wat deurgaans in dieselfde toonsoort voorkom. Klatzow gebruik ‘n verskeidenheid teksture en tessiture, asook lang temakomplekse, waaruit sekere kleiner motiewe gehaal word om die musiek se eenheidsin weer te gee. Hofmeyr se uiteengesette vormplanne maak sy werk meer gestruktureerd. Ook by hom is die teksture omvangryk, maar sy gebruik van toonsoorttekens (wat afwesig is by die ander twee komponiste) vertoon nie deurgaans die toonsoort waarin die musiek werklik is nie. Hy maak ook van ‘n motto-tema gebruik. Die eerste beweging open daarmee en in die derde beweging keer dit in ‘n aangepaste vorm terug. In terme van die tradisionele Europese vormgebruike, kan hierdie drie vioolsonates onder 19de-eeuse kunsmusiek geklassifiseer word. Hierdie studie poog om ‘n bydrae te maak tot die bekendstelling van hierdie werke by veral jong musici in Suid-Afrika.

Thesis (D. Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made. / AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.