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Teaching braille music notation to blind learners using the recorder as an instrumentWootton, Joan Elizabeth 04 1900 (has links)
Thesis (PhD) -- University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation
to blind learners at the Pioneer School in Worcester:
• Young learners learning to read braille IWSic notation with the piano as mediwn appeared
to struggle technically. For example, blind children experienced difficulty finding the
correct keys over seven octaves; they had generally weak posture; they had to learn to
play one part with one hand while the other hand would read; they had to memorise the
music for each clef individually and then combine them cognitively; they had to memorise
the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement
because of the very slow progress they made compared with their sighted peers.
• Although learners seemed to find the recorder technically more manageable, currently
available braille recorder tutors proved to be inadequate. This inadequacy was a result of
the tutors having been designed for the sighted child.
The researcher thus set out to design a more appropriate approach than is currently
available for teaching braille music notation to the blind, with the recorder as medium.
The research method was qualitative and included a literature survey which covered the
following unique needs of the blind learner:
• psychological
• emotional and social
• concept development
• motor skills (orientation, laterality, posture, coordination)
• tactile perception
• creativity and self expression
The qualitative research also included video observation of a series ofiodividual
and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel.
together with the researcher, evaluated the lessons on predetenDned coded
assessment criteria 'The lessons and progrannne were adapted according to
feedback from the lessons.
The qualitative research includes interviews with five blind learners and six
teachers of braille music notation. The interviews were designed to gather
information on how blind learners can more appropriately be taught the braille
music code.
The unique needs of blind learners, in particular those concerning orientation
and perceptual awareness, are considered in this alternative approach for
teaching braille music notation to blind learners. 'The alternative programme is
skills based and can be used convElliently in conlunetion with the Outcomes-
Based Education (OBE) modeL / AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille
musieknotasie aan blinde leerders by Pionierskool in Worcester:
• Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier
as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik
gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle
houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander
hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die
stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van
'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in
vergelyking met hulle siende portuurgroep.
• A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het,
blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie
ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp
IS.
Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat
tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die
bioldIuit as medium.
Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig
ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het:
• siellnmdig
• emosioneel en sosiaal
• konsep ontwikkeling
• motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie)
• gevoelswaarneming
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Contextual readings of analysis and compositional process in selected works by Arnold van Wyk (1916-1983)Thom Wium, Magtild Johanna 03 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: In this project, contextual readings of four works by Arnold van Wyk are developed. They are the Symphony No. 1 in A Minor, the First String Quartet, the Duo Concertante and the Missa in illo tempore. These readings are grounded in richly detailed descriptions of the compositional processes, drawing on material such as sketches, autographs, diaries, correspondence and reception documents, as well as in structural analyses of Van Wyk’s music and of certain peer compositions. Each reading is set in a separate theoretical frame, resulting in a multi-perspectival consideration of Arnold van Wyk’s music that partakes in a range of current disciplinary discourses. The First Symphony is discussed in the discursive context of English Sibelianism, and Arnold van Wyk’s dialogue with Sibelius’s symphonic works is investigated through comparisons of Van Wyk’s and Sibelius’s applications of two-dimensional sonata form and tragic reversed sonata form. The reading so developed sheds new musical light on the difficulties of Van Wyk’s position as a colonial composer residing in the centre of a crumbling Empire. The compositional process of Van Wyk’s First String Quartet is described in juxtaposition with the compositional process of Bartók’s Sixth String Quartet, and the similarities and differences of the two narratives and the two compositions highlight a second aspect of Van Wyk’s colonial identity, namely the ambiguity of his return to South Africa from England, neither of which place could signify “home”. The reading of the Duo Concertante focuses on the Elegia from that work, interpreting the piece as part of a network of intertextual connections, including Van Wyk’s model for this piece, Martin Peerson’s (1580-1650) The Fall of the Leafe, Gerald Finzi’s Elegy for Orchestra Op. 20, entitled The Fall of the Leaf, as well as Van Wyk’s own theme for the Rondo of the Duo, to which he made various musical references in the Elegia which are associated with the concept of “prophecy”. This intertextual reading considers Van Wyk’s continuing problematic identification with the English musical culture and tradition, compounded by his uncomfortable place in the stifling cultural establishment of apartheid South Africa. Van Wyk’s Missa in illo tempore is interpreted in a post-apartheid context. The work purports to react to the conditions in London in 1945 at the end of the Second World War (when Van Wyk first started to work on it) as well as the conditions in apartheid South Africa in 1977-1979 (when he completed the work as a commission for the Stellenbosch Tercentenary Festival). The reading considers the ethics of art that intends to respond to situations of suffering, drawing on post-Holocaust art scholarship as a theoretical frame. In developing interpretations of compositions that have never been studied in such detail or with such theoretical rigour before, the thesis makes a significant contribution to Arnold van Wyk studies, and in its application of a range of methodological tools in order to construct poetic hermeneutic readings that are grounded in musical and contextual materials, it also represents a meaningful methodological innovation. / AFRIKAANSE OPSOMMING: In hierdie projek word kontekstuele lesings van vier werke deur Arnold van Wyk ontwikkel. Hulle is die Simfonie Nr. 1 in A Mineur, die Eerste Strykkwartet, die Duo Concertante en die Missa in illo tempore. Hierdie lesings is gegrond in ryk-gedetailleerde beskrywings van die komposisieproses, waarby materiaal soos sketse, outograwe, dagboeke, korrespondensie en resepsiedokumente gebruik word, asook in strukturele analises van Van Wyk se musiek en van sekere eweknie-komposisies. Elke lesing word in ʼn afsonderlike teoretiese raamwerk gestel, sodat ʼn veelperspektiewelike oorweging van Arnold van Wyk se musiek resulteer wat deelneem aan ʼn verskeidenheid hedendaagse dissiplinêre diskoerse. Die Eerste Simfonie word bespreek in die diskursiewe konteks van Sibelianisme in Engeland, en Arnold van Wyk se dialoog met Sibelius se simfoniese werke word ondersoek deur vergelykings van Van Wyk en Sibelius se toepassings van twee-dimensionele sonatevorm en tragies-omgekeerde sonatevorm. Die lesing wat sodoende ontwikkel word, werp nuwe musikale lig op die moeilikhede van Van Wyk se posisie as koloniale komponis woonagtig in die sentrum van ʼn verkrummelende Ryk. Die komposisieproses van Van Wyk se Eerste Strykkwartet word beskryf in jukstaposisie met die komposisieproses van Bartók se Sesde Strykkwartet, en die ooreenkomste en verskille van die twee narratiewe en die twee komposisies belig ʼn tweede aspek van Van Wyk se koloniale identiteit, naamlik die dubbelsinnigheid van sy terugkeer na Suid-Afrika uit Engeland, twee plekke waarvan geeneen die betekenis van sy “tuiste” kon dra nie. Die lesing van die Duo Concertante fokus op die Elegia uit daardie werk, en dit interpreteer die stuk as deel van ʼn netwerk van intertekstuele verbindings, insluitende Van Wyk se model vir hierdie stuk, Martin Peerson (1580-1650) se The Fall of the Leafe, Gerald Finzi se Elegie vir Orkes Op. 20, getiteld The Fall of the Leaf, asook Van Wyk se eie tema vir die Rondo van die Duo, waarna hy verskeie musikale verwysings in die Elegia gemaak het wat geassosieer word met die konsep van “profesie”. Hierdie intertekstuele lesing beskou Van Wyk se aangaande problematiese identifisering met Engelse musiekkultuur en –tradisie, vererger deur sy ongemaklike plek in die verstikkende kulturele establishment van apartheid Suid-Afrika. Van Wyk se Missa in illo tempore word in ʼn post-apartheid konteks geïnterpreteer. Die werk stel sigself voor as reaksie op die toestande in Londen in 1945 teen die einde van die Tweede Wêreldoorlog (toe Van Wyk die eerste keer daaraan begin werk het) asook die toestande in apartheid Suid-Afrika in 1977-1979 (toe hy die werk voltooi het as ʼn opdrag vir die Stellenbosch Drie-Eeue Fees). Die lesing oorweeg die etiek van kuns wat ten doel het om te reageer op situasies van lyding en gebruik post-Holocaust kunsstudies as teoretiese raam. In sy ontwikkeling van interpretasies van komposisies wat nog nooit in soveel besonderhede of só teoreties nougeset bestudeer is nie, maak die tesis ʼn beduidende bydrae tot Arnold van Wyk studies, en in sy toepassing van ʼn verskeidenheid metodologiese hulpmiddels om poëtiese hermeneutiese lesings te konstrueer wat gegrond is in musikale en kontekstuele materiale, verteenwoordig dit ook ʼn betekenisvolle metodologiese vernuwing.
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Celebrating cultural diversity : implementing an integrated approach to arts and culture in the intermediate phase of curriculum 2005Malan, Sandra Ruth 04 1900 (has links)
Thesis (M.Mus)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: Since its inception, educators across the board in South Africa have struggled
to implement the new curriculum. Initial problems with terminology and
availability of learning materials have been addressed, but still the resistance
to Outcomes Based Education (0BE) and Curriculum 2005 (C2005) continues.
Some of the reasons for the resistance point to feelings of disempowerment
experienced by generalist and specialist educators who now have to teach the
new Learning Area Arts and Culture. This has been attributed to, amongst
others, a lack of training, resulting in feelings of inadequacy, inappropriate
training for large multicultural classes and the lack of teaching resources.
Another reason for the resistance has been described as a resistance to
change. Many educators have found it difficult to make the paradigm shift
from the previous educational system to OBE and C2005.
The aim of the study is to research and explore ways of empowering
educators to teach Arts and Culture. The new educational system is geared to
redressing the imbalances of the past and giving more expression to the
diversity of cultures represented in South African schools. Whereas the
previous system was founded on exclusively Eurocentric ideology, principles
and values, the new system aims at a more inclusive Afrocentric approach.
However, criticisms leveled at C2005 have suggested that it is still basically
Western in terms of values, terminology and methodology. This study is
therefore aimed at investigating a culturally diverse music/arts curriculum,
which draws on the wealth of resources, methods and modes readily
accessible in South Africa. A comprehensive literature review guides the study
towards a greater understanding of how cultural identities are formed out of a
need to belong and how important recognition is to individuals and groups,
particularly in terms of their diverse cultural expressions. Music and the arts
are understood as being vitally important channels for expression of this
diversity. Yet, true to the Afrocentric principle of holism, unity is found in
diversity. As much common ground exists between an integrated approach and an
Afrocentric approach to music/arts education, these principles are explored to
determine whether they can be adapted for use in contemporary South
African classrooms. An integrated project mode, which provides a balance
between the specific knowledge contexts of the various Learning Areas and
collaborative learning aimed at developing the natural links between learning
areas to create a vibrant whole, is suggested. The researcher conducted an
integrated project at her school with the common theme of "District Six" linking
four Learning Areas and their components. Participatory action research using
qualitative methods such as questionnaires were used to determine the
feasibility of an integrated project mode of learning as a means of empowering
educators to teach Arts and Culture. Subsequently recommendations were
made regarding implementation. / AFRIKAANSE OPSOMMING: Sedert die instelling van die nuwe kurrikulum in Suid-Afrika het opvoeders
gesukkel om dit te implementeer. Die aanvanklike probleme met terminologie
en die gebrek aan geskikte bronne is aangespreek, maar die weerstand het
nie verminder nie. Van die redes hiervoor verwys na gevoelens van
ontmagtiging onder algemene en gespesialiseerde opvoeders wat die nuwe
leergebied van Kuns en Kultuur moes aanbied. Die weerstand word
toegeskryf aan, onder andere, gevoelens van ontoereikendheid, onvanpaste
opleiding om met groot multi-kulturele klasse te werk en 'n gebrek aan
onderrigbronne. 'n Ander rede is beskryf as teëstand teen verandering. Baie
opvoeders het dit moeilik gevind om die paradigma-skuif te maak vanaf die
vorige stelsel na Uitkoms Gebaseerde Onderwys (UG0) en Kurrikulum 2005
(K2005).
Die doel van die studie is dus om navorsing te doen en ondersoek in te stel na
maniere waarop opvoeders bemagtig kan word om Kuns en Kultuur aan te
bied. Die nuwe opvoedingstelsel is gefokus op regstelling van die
onewewigtighede van die verlede en op 'n groter uitdrukking van die kulturele
diversiteit wat in Suid-Afrikaanse skole verteenwoordig is. Terwyl die vorige
stelsel gebaseer was op 'n Eurosentriese ideologie, beginsels en waardes, is
die nuwe gefokus op 'n Afrosentriese benadering. Tog is daar kritiek teen
Kurrikulum 2005 juis omdat dit nog altyd gebaseer is op Westerse waardes,
terminologie en metodes. Die studie gaan dus oor 'n kurrikulum vir musiek en
die kunste wat inspirasie put uit die rykdom van Suid-Afrikaanse bronne,
metodes en modusse. 'n Omvattende literatuur oorsig voer die studie tot die
begrip dat kulturele identiteit gevorm word uit 'n behoefte om te behoort en
deel te wees, hoe belangrik erkenning van individue en groepe is, veral om
hul diverse kulturele identiteit uit te druk. Eie aan die Afrosenstriese beginsel
van holisme kan eenheid binne diversiteit gevind word.
Omdat daar baie gemeenskaplikheid bestaan tussen 'n geïntegreerde en 'n
Afrosentriese benadering tot musiek/kuns opvoeding, word die beginsels verken om te bepaal of dit aangepas kon word vir gebruik in hedendaagse
Suid- Afrikaanse klaskamers. 'n Geïntegreerde projek-modus word
voorgestel, wat 'n balans skep tussen die spesifieke kontekste van kennis in
verskeie Leerareas en koöperatiewe leer wat daarop gemik is om die
natuurlike skakels tussen die verskillende Leerareas te ontwikkel sodat 'n
groter geheel geskep word. Die navorser het by haar skool 'n geïntegreerde
projek oor Distrik Ses geloods wat vier leergebiede, insluitend hul
komponente, ingetrek het. Deelnemende aksie-navorsing soos vraelyste is
gebruik om die uitvoerbaarheid van die geïntegreerde projek-metode te
bepaal as 'n metode om opvoeders te bemagtig om Kuns en Kultuur by skole
aan te bied. Dit sluit af met voorstelle wat gemaak is in verband met die
implementering van die nuwe Kurrikulum.
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Musical networks : the case for a neural network methodology in advertisement music researchOlivier, Hannelore 04 1900 (has links)
Thesis (M.Mus.)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: Countless scientists had been struggling for centuries to find a significant connection between
cognition, emotion and reasoning – resulting in today’s rather embarrassingly imperfect understanding
of even the most basic human cognition. We should apprehend that it is unlikely that major
breakthroughs in the Cognitive Sciences, Psychology, Sociology or the Medical Sciences will elucidate
everything about the human brain and -behaviour in the very near future. Realizing this, it is realistic
that we should transfer our attention to things that we do know and understand, and reconsider the
power that lies in the integration of results and an interdisciplinary perspective in research. Using the
tools we have to our disposal today – digital tools such as ANNs which did not exist a few decades
before – this is actually readily viable today.
This thesis demonstrates that it is possible to break the traditional boundaries that have periodically
prevented the Humanities and the Natural Sciences to join forces towards a greater understanding of
human beings. By using ANNs, we are able to merge data from any subfield within the Humanities and
Natural Sciences in a single study. The results, interpretations and applications which could develop
from such a study would certainly be more inclusive than those derived from research conducted in
one or two of these fields in isolation.
Sufficient evidence is provided in this dissertation to support a methodology which employs an artificial
neural network to assist with decision-making processes related to the choice of advertisement music.
The main objective of this endeavour is to establish the feasibility of combining data from many diverse
fields, in the creation of an ANN that can be helpful in research regarding South African advertisement
music. The thesis explores the notion that knowledge from many interdisciplinary study fields ought to
play a leading role in the creation and assessment of effective, target-group-specific advertisement
music. In obtaining this goal, it examines the probability of producing a computer-based tool which can
assist people working in the advertising industry to obtain an educated match between product,
consumer, and advertisement music.
Taking a multidisciplinary point of view, the author suggests a methodology for the design of a digital
tool in the form of a musical network model. It is concluded that, by using this musical network, it is
indeed possible to guarantee a functional musically-paired commercial, which effectively addresses its
target-group and has an appropriate emotional effect in support of the marketing goals of the
advertising agent. The thesis also demonstrates that it is possible to gain new insights regarding a fairly unstudied
discipline, without necessarily conducting new research studies in the specified field. The thesis proves
that - by taking an interdisciplinary approach and by using ANNs - it is possible to attain new data that
is scientifically valid, even in an unacknowledged field such as South African advertisement music.
Although the scope of the thesis does not provide for the actual implementation of the musical
network, the feasibility of the conceptual idea is thoroughly examined, and it is concluded that the
theory in it’s entirely is definitely feasible, and can be implemented in a future study. / AFRIKAANSE OPSOMMING: Vir eeue al probeer wetenskaplikes ‘n betekenisvolle verwantskap tussen denke, emosie en redenasie
vind. Nietemin het ons vandag slegs ‘n beperkte begrip van selfs die mees basiese menslike kognisie.
Ons moet besef dat dit onwaarskynlik is dat deurbrake in die Kognitiewe Wetenskappe, Sielkunde,
Sosiologie of die Mediese Wetenskap in die nabye toekoms die volle funksionaliteit van die menslike
brein en gedrag sal bekendmaak. Met inagname hiervan, is ‘n aandagsverskuiwing geoorloof - na die
dinge wat ons wel weet en verstaan. Die enorme potensiaal opgesluit in die integrasie van resultate en ‘n
interdissiplinêre navorsingsperspektief behoort gevolglik heroorweeg te word. Ons beskik tans oor
meer as voldoende digitale hulpbronne, waaronder kunsmatige neurale netwerke, wat wel so ‘n
benadering kan bewerkstellig.
In hierdie tesis word daar gedemonstreer dat dit moontlik is om die grense wat tradisioneel ‘n
samewerking tussen die Geestes- en Natuurwetenskappe beperk het, af te breek - ‘n werkswyse wat
noodwendig sal lei tot ‘n beter begrip van die mens. Kunsmatige neurale netwerke maak dit moontlik
om navorsingsdata uit die Geestes- en Natuurwetenskappe te kombineer in ‘n enkele onderneming. Die
bevindinge, interpretasies en toepasings wat potensieel uit so ‘n metodologie sou kon voortspruit, is
sonder twyfel meer omvattend as dié afkomstig vanuit ‘n eendimensionele studie.
Voldoende bewyse word deur die loop van hierdie studie voorgehou ter ondersteuning van ‘n
kunsmatige neurale netwerk-metodologie in die assistering van besluitnemingsprosesse rakende
advertensiemusiek. Die hoofdoelwit van die onderneming is om te toets of die ontwerp van ‘n
kunsmatige neurale netwerk - deur die kombinasie van data uit diverse studierigtings - wel geoorloof en
funksioneel sou kon wees. Die aanname dat inligting uit ‘n aantal interdissiplinêre studierigtings ‘n
prominente rol behoort te speel tydens die skep en beoordeling van effektiewe, teikengroep-gerigte
advertensiemusiek, word gevolglik ondersoek. Om hierdie objektief te bewerkstellig, word die
waarskynlikheid bestudeer na die ontwerp van ‘n rekenaargebaseerde hulpbron - wat mense in die
advertensiewese behulpsaam kan wees om ‘n berekende en ingeligte keuse uit te oefen om produk,
verbruiker en advertensiemusiek te laat pas.
Die outeur benader die probleem vanuit ‘n multidissiplinêne oogpunt, en stel ‘n werkswyse voor vir die
ontwerp van ‘n digitale hulpbron – in die vorm van ‘n musikale netwerk model. Daar word bevind dat -
deur die gebruik van die voorgestelde model, dit wel moontlik is om die funksionaliteit van ‘n musiekgepaarde
advertensie te verseker. Verder word daar gedemonstreer dat nuwe insigte rakende ‘n
grotendeels afgeskeepte studierigting soos Suid-Afrikaanse advertensiemusiek moeiteloos bekom kan word, sonder om noodwendig navorsing binne die spesifieke gebied te loods. Laasgenoemde is
doenbaar deur ‘n interdissiplinêre navorsingsbenadering, gekombineerd met ‘n kunsmatige neurale
netwerk-metodologie.
Die omvang van hierdie studie maak nie voorsiening vir die implementering van die musikale netwerk
nie. Nietemin word die werkbaarheid van die konseptuele idee in diepte ondersoek, met die
gevolgtrekking dat die teorie in sy geheel sonder twyfel prakties is, en in ‘n toekomstige studie
geïmplementeer kan word.
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An analysis of Priaulx Rainier’s Barbaric Dance Suite for pianoKruger, Esthea 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / Priaulx Rainier (1903-1986) was a South-African born composer whose highly original
compositional style attracted great attention during her lifetime. She spent most of her life in
England, but was inspired by the images and recollections of her youth in Africa. Despite the
critical acclaim she received, little research has been done about her, both in South Africa and
abroad. Additionally, the nature of existing sources is mostly not analytical, but rather
provides an overview of her life or general aspects of her style. Although some conclusions
have been drawn about her compositional style, they are not thoroughly substantiated by
concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often
linked by authors to the “African” element of her idiom), with an evident disregard of the
other aspects of style, most notably with regard to pitch coherence.
This research attempts to correct this unbalanced discourse by analysing one of her few solo
piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch
relations, similarities and contrasts. The rationale for selecting this specific work originated
from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the
three DANCES, their structural embryo is, on a small scale, the basis for most of the later
works.” Although the scope of the research did not allow for a comparative analysis, it is
strongly believed that the conclusions reached in this study could also be applicable to many
of Rainier’s other works, especially of the early period.
The study consists of an introduction in which the Barbaric Dance Suite is contextualised,
followed by the main body of the thesis that consists of a detailed analysis of each of the three
movements. The foremost method of analysis used is set theory analysis, which could be
briefly described as a method whereby (particularly atonal) music is segmented and
categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch,
traditional methods of analysis are employed to examine the other musical parameters. In the
conclusion, the analytical results are contextualised with regard to existing pronouncements
on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical
system in Rainier’s music. The many complex pitch relations that were discovered by the
intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use
of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her
musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in
other works could lead authorities to revise the insistent pronouncements on her rhythmic use
in favour of a more balanced assessment of all aspects of her compositional style.
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The implications of Ned Herrmann’s whole-brain model for violin teaching : a case studyCampbell, Velma-Jean 12 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2008. / This study is concerned with determining whether the application of Ned Herrmann’s
“whole-brain” model would impact violin teaching in any way.
Our educational system places great importance on what has become known as the
left-brain modes, that is, reading, writing and arithmetic, to the neglect of the socalled
right brain’s cognitive abilities, such as, music, art, intuition and dance. Wellintentioned,
yet ill-informed teachers teach learners in ways that make learning
difficult or impossible, as they are unaware of how to determine and use the preferred
learning style of each learner. When a learner’s learning style is not matched with the
method of instruction, the learner’s discomfort level may be so great that it not only
interferes with the learning process but it could also ultimately prevent learning from
taking place.
The researcher, therefore, set out to determine whether the use of whole-brain
development would lead to any significant changes in the learning process. For a
period of two school terms, case studies using action research were conducted on five
of the learners that received instruction from the researcher. The research participants
were so chosen as to make the experimental group as homogenous as possible. Data
was collected qualitatively by means of diaries and was presented descriptively. Every
week the learners received a printed copy of the homework exercises. They recorded
their feedback weekly, in their diaries. The researcher, as the teacher of the learners,
made weekly observations during lessons.
During this research the process of triangulation was used. This process added
validity to the study as information about specific aspects was gained from three
different perspectives, namely, that of the learners, the teacher and the learners’
accompanists. The accompanists gave their feedback before the start of the research
and again at the end. After applying Herrmann’s model for two terms, the following
became apparent: • The learners practised more, were more motivated and there was a general
improvement in their attitude.
• The learners felt that having received a printed copy of the exercises, a whole
brain exercise in itself, had helped them to know what and how to practise.
• There was a significant change in the playing of the majority of learners (three
of the five).
• The learners, where significant changes were not apparent in their playing,
indicated that their understanding of their practising methods and playing had
increased.
• The learners felt that they had benefited from the experiment as they all
indicated that they would like future lessons to be conducted in the same
manner.
In view of the positive outcome of the research, and given that this was a pilot study,
the researcher suggests that similar studies using larger numbers of learners and
involving a longer period of time, be conducted. The inclusion of a control group
would also render the findings more conclusive. The researcher also suggests that
violin teachers become knowledgeable about learning styles and whole-brain learning
if they wish to reach all learners and enable them to achieve their potential.
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Exploring authenticity in performance : a comparative performance analysis of Arnold van Wyk’s Night Music for pianoPinto Ribeiro, Bruno Alfredo 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / Arnold van Wyk was a composer and a pianist. He recorded his largest work for
piano, Night Music (1958), on LP in 1963. Steven de Groote performed Night Music
on 21 July 1984 at the Cheltenham International Festival of Music. This live
performance was broadcast on BBC Radio 3 on 24 September 1984 and a copy of
this broadcast exists in the Arnold van Wyk collection in the J.S. Gericke Library at
Stellenbosch University.
Night Music is a perfect example of Van Wyk’s compositional techniques for
the keyboard. It demands a considerable musical imagination and piano technique
from the performer. The score of Night Music contains many detailed instructions
regarding the different musical parameters and it also encloses unusual terms such
as glacial or lugubre. It shows that the composer is extremely concerned to control
all aspects of the performance and expects great depth of interpretation of the
performer.
Analysing the score of Night Music together with a performance by the
composer enables one to consider two versions of “authenticated text”. The
comparison between Arnold van Wyk’s recording, score and Steven de Groote’s
performance allows the researcher to draw conclusions about score fidelity as a
condition for “authenticity” in performance. Therefore, the primary aim of this
research project is to yield interesting perspectives on notions of authenticity in
performance with regard to these two particular performances of Night Music.
The main body of this thesis consists of four chapters. In Chapter One a
philosophical discussion about authenticity in performance is presented. Chapter
Two focuses on the contextualisation of the work under discussion, including the
reception and a short analysis of Night Music. It is followed by Chapter Three which
compares the pianism of Arnold van Wyk and Steven de Groote. These latter two
chapters form the background of the comparative performance analysis of the
renditions of Night Music by these two performers which are presented in Chapter
Four.
Through the careful comparative analysis of Arnold van Wyk’s and Steven de
Groote’s performances of Night Music it was possible to observe that a composer
can present a version of his work that departs quite radically from the score. As
“authenticity in performance” strives to honour the composer’s intentions as notated
in the score, this discrepancy illustrates the controversial nature of the discourse on
the “authentic” in music.
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A national electronic database of special music collections in South AfricaDe Jongh, Martha Susanna 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / In the absence of a state-sponsored South African archive that focuses on collecting,
ordering, cataloguing and preserving special music collections for research, the
Documentation Centre for Music (DOMUS) was established in 2005 as a research
project at the University of Stellenbosch. Music research in South Africa is often
impeded by inaccessibility of materials, staff shortages at archives and libraries,
financial constraints and time-consuming ordering and cataloguing processes.
Additionally there is, locally, restricted knowledge of the existence, location and
status of relevant primary sources. Accessibility clearly depends on knowing of the
existence of materials, as well as the extent to which collections have been ordered
and catalogued.
An overview of repositories such as the Nasionale Afrikaanse Letterkundige Museum
and Navorsingsentrum (NALN), the now defunct National Documentation Centre for
Music and the International Library of African Music (ILAM) paints a troubling
picture of archival neglect and disintegration. Apart from ILAM, which has a very
specific collecting and research focus, this trend was one that ostensibly started in the
1980s and is still continuing. It could be ascribed to a lack of planning and forward
thinking under the previous political dispensation, aggravated by policies of
transformation and restructuring in the current one.
Existing sources supporting research on primary materials are dated and not
discipline-specific. Thus this study aims to address issues of inaccessibility of primary
music materials by creating a comprehensive and ongoing national electronic database
of special music collections in South Africa. It is hoped that this will help to alert
researchers to the existence and status of special music collections housed at various
levels of South African academic and civil society.
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An orchestration of the Sonata no. 3 in F-sharp minor, Op. 23 by Alexander ScriabinDe Castro Martins Amaro, Olga Maria 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / The work presented herewith is an orchestration of one of the most idiomatic piano pieces
composed by Alexander Scriabin: the Sonata no.3 in F‐sharp minor, Op. 23.
This particular orchestration involved a process of profound examination and
comprehension of the form of the sonata, as well as understanding the role of each
instrument of the symphony orchestra, and how they could contribute to an orchestral
reconstruction of Scriabin’s work. The re‐creation of the piano part, and the whole
experience that supported this challenge, resulted in the individual production in which my
particular interpretation of Scriabin’s music reflects the maturity of an absorbed
investigation of his style of composition.
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Applying the phi ratio in designing a musical scaleSmit, Konrad van Zyl 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2005. / In this thesis, an attempt is made to create an aesthetically pleasing musical scale based on the ratio of
phi. Precedents for the application of phi in aesthetic fields exist; noteworthy is Le Corbusier’s
architectural works, the measurements of which are based on phi.
A brief discussion of the unique mathematical properties of phi is given, followed by a discussion of the
manifestations of phi in the physical ratios as they appear in animal and plant life.
Specific scales which have found an application in art music are discussed, and the properties to which
their success is attributable are identified. Consequently, during the design of the phi scale, these
characteristics are incorporated. The design of the phi scale is facilitated by the use of the most
sophisticated modern computer software in the field of psychacoustics.
During the scale’s design process, particular emphasis is placed on the requirement of obtaining maximal
sensory consonance. For this reason, an in-depth discussion of the theories regarding consonance
perception is undertaken.
During this discussion, the reader’s attention is drawn to the difference between musical and perceptual
consonance, and a discussion of the developmental history of musical consonance is given.
Lastly, the scale is tested to see whether it complies with the requirements for successful scales.
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