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Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)

Summaries in Afrikaans and English / Die term "volkspoesie" is reeds in die agtiende eeu deur Johann Gottfried Herder gebruik. Dit kom steeds in Europese tale soos Nederlands en Dui ts voor en word oak in Afrikaans gebruik. Belangstelling in die genre word in twee verskillende vakgebiede aangetref: die volkskunde en die letterkunde. Volkspoesie is poesie wat deur 'n individu geskep word, maar soveel aanklank vind by die "gewone publiek" dat hulle dit as 11volksbesit 11 aanvaar en mondel ing oordra. Die oorspronklike skepper raak dus vergete, die kunswerk bestaan anoniem voort en variante ontstaan. Volkspoesie het verskeie verskyningsvorme soos die volkslied( jie), die ballade, rympies en raaisels. Eiesoortige kenmerke is: spontaneiteit, eenvoud, die irrasionele. Alhoewel volkspoesie oor "landsgrense11 heen kan swerf, is bepaalde vorme daarvan dikwels streekgebonde. Nieteenstaande sy bevraagtekening van die term in die vyftigerjare het N.P. van Wyk Louw dit ook self gebruik. Sy gedigreeks 11 Klipwerk uit Nuwe verse (1954) het 'n nuwe belangstelling in volkspoesie gewek. Later het hy die reeks bestempel as 'n "soort volkspoesie wat hy doelbewus wou skep: volksversagtige" gedigte, gebind aan die digter se jeugwereld. D.J. Opperman het in sy proefskrif van 1953 ook ender meer 'n belangstelling in volkspoesie geopenbaar en in 1962 gewys op die volkse in moderne Afrikaanse digkuns. Sy laaste digbundel, Kamas uit 'n bamboesstok ( 1979), word as 'n volksboek met volkspoesie-eienskappe aangebied. Die vorm en eienskappe van volkspoesie vind neerslag in beide Van Wyk Louw en Opperman se werk. Aanvanklik skryf Van Wyk Louw heelwat volksversagtige gedigte en later gebruik hy ook volksballade-eienskappe in sy ballades. Ook in Tristia (1962) kom eienskappe van volksliedjies en rympies voor. Opperman verwerk meermale bestaande volksliedjies en -rympies in sy poesie en gebruik dit betekenisverruimend as verwysingsveld. Die twee digters se belangstelling in volkspoesie het gelei tot 'n verdere ontginning van die "volkse" vers in Afrikaans, onder andere deur digters soos Boerneef, Adam Small en Breyten Breytenbach. Volkskundige navorsing deur P.W. Grobbelaar en andere het in die moderne tyd ook die aandag op hierdie onderwerp gevestig. In die tagtigerjare is mondelinge Afrikaanse poesie selfs deur swartmense in hulle politieke stryd gebruik! / The term "folk-poetry" had already been used by Johann Gottfried Herder in the eighteenth century. It has ever since prevailed in European languages such as Dutch and German and is also found in Afrikaans. Interest in this genre occurs in two different fields of study: folklore and literature. "Folk-poetry" is poetry created by the individual and accepted by the "general public" to a large extent. Therefore it is acknowledged as common property and passed on by word of mouth. The original creator is thus forgotten, the work of art prevails anonymously and different versions come into being. "Folkpoetry" appears in a variety of forms: the folk-song( s), the ballad, rhymes and riddles. Particular characteristics are: spontaneousness, simplicity, the irrational. Although "folkpoetry" may cross "national borders", some forms are often regional. Despite his questioning the term in the fifties, N.P. van Wyk Louw used it himself. His poetry series "Klipwerk" from Nuwe verse (1954) gave rise to a new interest in ''folk-poetry". He afterwards labelled the series as "a kind of folk-poetry" which he deliberately wanted to create: "folksy" poems, relating to the world of the poet's youth. In his 1953 thesis D.J. Opperman also showed amongst others an interest in "folk-poetry" and in 1962 pointed out the "folksy" identity in contemporary Afrikaans poetry. His last anthology, Kamas uit 'n bamboesstok (1979), is presented as a folk book with "folk-poetry" characteristics. The form and characteristics of "folk-poetry" are embedded in both Van Wyk Louw's and Opperman's work. Initially Van Wyk Louw wrote quite a number of "folksy" poems and afterwards also used folk-ballad characteristics in the ballads he wrote. Characteristics of folk-songs and rhymes also occur in Tristia (1962). Opperman adapts existing folk-songs and rhymes in his poetry and uses it as framework to broaden the meaning. These two poets' interest in "folk-poetry" resulted in further exploration of the "folksy" verse in Afrikaans, among others by poets like Boerneef, Adam Small and Breyten Breytenbach. Folk research by P.W. Grobbelaar and others focused attention on this subject. In the eighties even blacks used oral Afrikaans poetry in their political struggle! / Afrikaans and Theory of Literature / D. Lit. et Phil. (Afrikaans)

The diploma thesis The linking of literary and musical ballads in music education at the second stage of elementary school delineates the general definition of the ballad genre from the literary and musical point of view. The work demonstrates the interaction of both arts during the creation of this genre, inferring from several professional publications. It also clarifies the main branches of the genre, especially the folk ballad and the artificial ballad. Main Czech authors contributing to these genres are introduced within each of these ballads. Based on the overview of Czech music authors, the examples of musical forms, inspired by verbal art and chosen by these authors for their compositions, are described. Attention is paid to the pedagogically psychological aspect of the ballad, which demonstrates the significant influence of this genre on the development of the individual competencies of the pupil at the second stage of elementary school. The contribution of the ballad to educational areas and its benefits on mutual school subject relationships are discussed in several points. This diploma thesis shows evidence of the interaction of verbal and musical art considering the overview of the ballad genre development and its music rendition. The text proves contribution of the ballad and its...