The lecture recital was given on June 16, 1980. The Ralph Vaughan Williams Concerto for Bass Tuba and the Paul Hindemith Sonate for Tuba and Piano were performed following a lecture on the historical evolution of the tuba in Europe. The lecture included a history of the predecessors of the tuba and their influence on the development of tuba playing traditions. Tuba performance practices in Europe developed around two playing traditions, one in France and England, and a second in Germany. The ophicleide enjoyed tremendous popularity in France and England during the early nineteenth century. Because this instrument was a major competitor of the tuba in these countries, the tuba was viewed as an ophicleide replacement. Tubists in Europe and England had to develop facility and sound quality equivalent to that of the older instrument. In Germany the tuba's main competitor was the Russian bassoon, a form of upright serpent. At this same time the serpent and its related forms were in decline. This lack of popularity with the older instruments provided an opportunity for the quick adoption of the tuba in Germany.

William Grant Still's musical achievements are legion. Because he was the first African American to break the color line in America's concert halls, Still earned the sobriquet "Dean of Negro Composers." Paradoxically, Still's reception suffers from this list of "firsts." The unintended consequence of cataloging his achievements venerates his position as an iconoclast while detracting critical attention from his music. Conversely, if we ignore the social context in which Still produced his music, we risk misinterpreting his compositional choices or trivializing the significance of his accomplishments prior to the Civil Rights Movement in America. Still's so-called symphonic trilogy-Africa, Symphony No. 1 ("Afro-American"), and Symphony No. 2 ("Song of a New Race")-is the subject of an intertextual analysis that demonstrates how extra-musical concerns, such as race, and musical elements can be brought into alignment. Chapter one discusses black music scholarship in general and Still scholarship in particular by tracing the development of black music historiography. The second chapter explores one of the various modes of inquiry used to study black music-intertextuality. The context for Still's self-titled racial and universal periods is the subject of chapter three. For the first time, arguments from both sides of the racial divide are reconsidered in the debate about what constitutes American music. The fourth chapter is devoted to an intertextual interpretation of Still's symphonic trilogy. Each work is subjected to an anterior, interior, and posterior intertextual reading. An anterior reading takes into account how context determines perception. The interior reading examines the inter-play of topics and texts that are created as the work is experienced. The posterior reading is concerned with the relationship between the work and its audiences and any new texts that are generated from this interaction. The final chapter challenges the notion that the three works discussed form a trilogy. In the process, the differences between criticism and interpretation are reconsidered.

Balakirev's two early piano and orchestra works, Grande Fantaisie on Russian Folk Songs and Concerto Op. 1 in F# Minor, were composed in the middle of the nineteenth century when in Russia there were no particularly important works for piano and orchestra. Balakirev was still a teenager when he wrote these two pieces and unfortunately both remained unfinished. However the beauty and remarkable compositional achievement of these works should be highly recognized. There are six chapters in this essay. The general background, purpose and the state of research are discussed in the first chapter. The second chapter presents Balakirev's biographical information and the overview of his works for piano and orchestra is stated in Chapter III. Individual works, Grande Fantaisie and Concerto in F# Minor are discussed in the chapters IV and V, which including discussing compositional background, analysis and diagram of structural schemes. The last chapter concludes with Balakirev's contribution to Russian music and the development of the Russian concerto coming into its own. It deals particularly with Balakirev's approach to folk songs, which gives the concerto a unique Russian aesthetic, in addition to his ability to write in the European tradition.

This paper examines the generic aspect of Beethoven's Opus 5 Cello Sonatas (1796) from structuralist and post-structuralist perspectives, and explores the works from these viewpoints in order to gain insights into how the sonatas function as autonomous musical texts rather than historiographic documents of Beethoven's biography or transitional contributions in the development of the genre of the solo sonata as it was later cultivated. The insights offered by these perspectives argue for a reconsideration of the conventional notions of "work" and "text," which underscore the doctrine of work-immanence. This perspective also offers insights that have proven elusive when the works are considered primarily in the context of the historical-biographical construct of Beethoven's three style-periods. By applying the aesthetic practice of expressive doubling prevalent at the turn of the nineteenth century to Beethoven's Opus 5 Sonatas, a deeper understanding of the constellation of the duo sonatas in accompanied keyboard literature will be attained. Also, by illuminating the relational nature of meaning realized within a textual framework, this study attempts to enlarge the restricted scope of interpretation conventionally imposed on the Opus 5 sonatas.

Although the current, exhaustive studies of Brahms' works have covered many aspects of the composer's art, it is still surprising that his large-scale, five-movement Piano Sonata No.3 has in many ways been insufficiently studied by scholars who have emphasized the genre of the piano sonata and the aspect of performance practice over the work's more diverse features. Another reason that this early work has been understudied could in fact be that his later compositions in other genres, such as his symphonies, chamber music or choral music, have been perceived by scholars to represent best his most mature, comprehensive style. This dissertation will therefore examine the orchestral underpinnings of this monumental work which owes most often its already mature artistic essence to Brahms' multi-instrumental approach.

Samuil Feinberg was an important performing pianist, composer, and one of the protagonists of Russian Piano School. Among his numerous piano compositions, the Sixth Sonata is one of the most complex and illustrative of his deeply personal musical ideas. The following performer's guide offers some ideas on interpreting and performing the sonata from the perspective of Russian school pianism. Having trained in Russia for nearly a decade with two of Feinberg's most eminent disciples and assistants (Tatiana Galitskaya and Liudmila Roschina) makes this author part of living chain back to his pedagogical principles. I will draw upon my knowledge and expertise to illustrate how interpretation of Feinberg's Sonata No. 6 embodies many of the particular and subtle aspects of the Russian piano school technique.

Over the last couple of years, more than a million unaccompanied minor refugees (UMRs) have made it to the European Union. Their journeys have been long, tough, and hard and each unaccompanied minor refugee has a unique story, but they all share one thing. The traumatic events they have witnessed and experienced along the way have affected their mental health. Mental health issues, often symptoms of post-traumatic stress disorder (PTSD) are very common among UMRs. Untreated issues can lead to chronic PTSD, which could impact them for the rest of their lives. UMRs need support to process the traumas they have experienced, and one possible intervention is NET, Narrative Exposure Therapy. NET is an evidence-based, short-term, individual form of therapy. Supported by a therapist, the individual talk through his/her whole life while putting emphasis on the traumatic events aiming to work through and past them. The adapted form of NET that is used to treat children is called KidNET. Based on the hypothesis that KidNET has positive effects, reduces symptoms of PTSD, and strengthens mental health, the aim of the study is to show the effects of KidNET when treating traumatized children diagnosed with PTSD. Further objectives are set to see how effective KidNET is when compared to control groups, and if KidNET can be recommended as a suitable intervention to use among UMRs suffering from PTSD in Greece. A narrative literature review is chosen as the research method to reach the aim. The review revealed overall positive effects when using KidNET as an intervention targeting traumatized children with PTSD in various settings in different parts of the world. Positive effects found were better daily functioning, an ability to engage in meaningful activities, a reduction in feelings of guilt, stigmatization, and suicidal ideation, a decrease in the severity of PTSD and depression symptoms, and a full recovery from major clinical depression and PTSD. No negative effects were found in any of the studies included in the review. Several studies were limited by small sample sizes, no passive control group and not enough follow-up assessments. However, the overall outcome shows successful results and KidNET is found to be a suitable intervention when treating PTSD among UMRs in Greece, but further studies are recommended. / <p>On Zoom</p>

Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half cadence or an authentic cadence) at the phrase ending, suggesting a performance-related strategy based on each possibility. My objective is not to support only one cadential status, but to bring up the cadential problem from the analytical perspective and to demonstrate how cadence identification affects performance results. The dissertation is divided into two parts: analysis and performance, so it relies on a combined method of analytical terminologies and performance-related musical elements. In the analysis, the terminology of William Caplin is employed. The performance part refers to several method books written by prestigious piano pedagogues. After an introduction in Chapter 1, Chapter 2 reviews some literature on cadences. Chapter 3 specifically analyzes the first movement of Chopin's second sonata by means of Caplin's terminologies. Chapter 4 provides a performance-related method and Chapter 5 deals with a practical performance strategy.

The main objective of this study is to investigate the practical treatment of Unaccompanied Minor Refugees (UMR) in Ghana and South Africa, and to explore whether such treatment is in accordance with existing international norms and standards for the protection of refugee children. The study will focus on the realisation of children’s socio-economic rights in order to measure treatment. This study also seeks to address the obstacles which prevent the full and proper treatment of UMR, and to make recommendations as to how the international community can better regulate the treatment of UMR. In essence, this paper aims to investigate whether there is a discrepancy between the rights of child refugees acknowledged in international law and the situation of UMR in practice, and, if so, how this can be remedied. This paper seeks to show, through the case studies of Ghana and South Africa, that UMR are, to a certain extent, lost in the system / A Dissertation submitted to the Faculty of Law University of Pretoria, in partial fulfilment of the requirements for the degree Masters of Law (LLM in Human Rights and Democratisation in Africa). Prepared under the supervision of Mr E.Y. Benneh of the Faculty of Law, University of Ghana, Legon / http://www.chr.up.ac.za/ / Centre for Human Rights / LLM

This study investigates the importance of Hummel as a transitional composer, pedagogue and pianist between the Classical and Romantic periods, his contribution to the development of piano technique, and his influence as a pedagogue on later generations. The bases of this study were his treatise A complete theoretical and practical course on the art of piano playing (Ausführliche theoretisch-practische Anweisung zum Pianoforte-Spiele) of 1828, his Préludes op. 67 of 1814/1815 and his 24 Grandes Études op. 125 of 1833. Hummel’s treatise is an important musicological document detailing keyboard performance practices of the 18th and early 19th century. He lived at a time when the present day piano was still evolving. The new instruments with their resulting new possibilities found expression in his 24 Grandes Études op. 125. Important sources consulted were the following:  The piano concertos of Johann Nepomuk Hummel by F.H. Mitchell (1957)  The music of J.N. Hummel: its derivations and development by R. Davis (1965)  Romantic Music: A history of musical style in the 19th century by L. Plantinga (1984)  The Kristeva Reader edited by Toril Moi (1986)  How did they play? How did they teach? by S. Soderlund (2006); and  Johann Nepomuk Hummel: a musician’s life and world by Mark Kroll (2007). Although Hummel was deeply rooted in the Classical style, his compositions displaying the hallmarks of the style galant, can be divided into two style periods. The first style period ending about 1811 shows harmonic simplicity, regularity of phrasing and elegant cantabile melody. His second period post-1811 saw the composition of works with bolder, more dissonant harmony resulting in greater chromaticism. After 1814 his piano compositions demand greater variety of tone colour, more expressive use of dynamics, rubato, and advanced technical facility of the performer. According to Mitchell (1957: 75, 76) Hummel’s art and ornamentation are related to the virtuoso technique expanded by the Viennese pianistic style of the early 19th century. Hummel developed the ornamental style further, culminating ultimately in the poetry of the tone-coloured fioritura of Chopin. One aim of the study was to reveal the individual contributions Hummel made to the changes taking place between the Classical and Romantic styles. Innovative aspects include new virtuoso technical demands that would find fruition in the études of Chopin an Liszt. His influence on Chopin was undeniable as one perceives the early distinguishing characteristics of Chopin’s style in many of the compositions of Hummel. Schumann and Liszt were familiar with the music of Hummel in their formative years and there is much evidence of Hummel’s style in their compositions. In Chapter 4 on intertextuality, Hummel’s influence on Chopin, Schumann and Liszt is examined, and in Chapter 5 his pedagogical principles as set out in his treatise are appraised. Chapter 6 is an investigation into the technical principles embodied in Hummel’s 24 Grandes Études op. 125 and their influence on the development of the Concert Étude. / Thesis (DMus)--University of Pretoria, 2013. / gm2014 / Music / unrestricted