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This study investigates the status of Historically Informed Performance Practice among the South African flute-playing fraternity. Consequently, grounds are established on which to claim a lack of the implementation of Historically Informed Performance Practice in South African flute pedagogy and playing. The main research question that underpins this study is: <ul> <li>Why is there a lack of integration of Historically Informed Performance Practice into the mainstream of current flute performance practice among South African flute pedagogues and players?</li></ul> This research question is addressed through three sub-questions: <ul> <li>Is there an awareness of Historically Informed Performance Practice in South Africa as outlined by performance and pedagogy internationally?</li> <li>How is Historically Informed Performance Practice incorporated into the South African flute examinations system? </li> <li>Does the knowledge of Historically Informed Performance Practice prepare one to be a balanced musician or flautist?</li> </ul> The findings that emerge from the investigation of the research questions are: <ul> <li>South African flute pedagogues fail to differentiate between Historically Informed Performance Practice and ‘authenticity’. This could be attributed to the fact that relatively little research and discourse into Historically Informed Performance Practice has been conducted by South African scholars and musicologists. </li> <li>While Historically Informed Performance Practice is thought to enhance students’ performances of Early Music, resulting in better-balanced musicians, it has not been significantly exploited by South African flute players.</li> <li>South African flute students are superficially aware of some elements of performance practice, but are generally not historically informed with regard to the performance of Early Music.</li> <li>There is no clear indication of Historically Informed Performance Practice being incorporated into the South African independent flute examination system.</li> <li>While there are numerous specialists in Early Music locally, flute pedagogues and players perceive them to be scarce, perhaps due to a lack of discernable demand for historically informed performances by South African audiences.</li> </ul> The research synthesises questionnaire and interview data from local flute pedagogues, Early Music specialists and both national and international flute students in an attempt to discover the reason for the lack of Historically Informed Performance Practice in South Africa. Additionally, a survey of websites detailing South African Early Music activity is performed using the Internet, in order to ascertain if the basis for a future in Historically Informed Performance Practice exists nationally. Lastly, content analyses of the three primary South African independent examination boards’ syllabi and of the former flute periodical, Flufsa News, elucidate the status of Historically Informed Performance Practice nationally. / Dissertation (MMus)--University of Pretoria, 2008. / Music / unrestricted

Qu’est-ce que jouer au XXIe siècle des musiques de la Renaissance ? Prenant acte de ce que la richesse d’une expérience réside dans sa singularité, cette thèse fait le pari de répondre à cette question générale en s’intéressant à un processus particulier : la répétition et l’enregistrement d’une chanson du XVIe siècle par un ensemble spécialisé. Dès lors que l’on s’efforce de prendre les détails au sérieux, il semble que le suivi rapproché de ces musiciens-là, engagés en 2014 dans la performance réitérée de « Suzanne un jour » de Didier Lupi, présente bien un intérêt en tant que tel. Cela permet d’appréhender non seulement ce qui fait advenir et évoluer une proposition musicale, mais également les modalités de l’expérience collective et individuelle afférente. En outre, cette épistémologie singulariste rivée aux détails s’avère fructueuse à d’autres échelles, qu’il s’agisse de revenir sur cinq semaines de l’élaboration d’un projet discographique ou d’écrire cinq siècles d’histoire de « Suzanne ». / What does it mean to play Renaissance music in the 21st century? Taking into account that the depth of an experience derives from its singularity, the present dissertation looks at this general question by focusing on a specific process: a specialized ensemble rehearsing and recording a 16th century song. A close reading of this process makes it clear that there is inherent value in observing musicians in the year 2014 engaged in repeat performances of “Suzanne un jour” by Didier Lupi. This observation clarifies how a musical performance is created and developed and reveals the modalities of the collective and individual experiences involved. Moreover, this detail-oriented and singularist epistemology is useful in other respects, whether to comprehend a five-week recording project or to write a five-century history of “Suzanne.”