Thesis (MMus (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING: Die Kersfeesorkeste is ‟n Christelike tradisie binne die Kleurling-gemeenskap van die Wes-Kaap wat dissipline en goeie waardes by lede van hierdie gemeenskap inboesem en musiek in voorheen benadeelde en minderbevoorregte sektore van die samelewing bevorder. Die geskiedenis en agtergrond van die Kersfeesorkeste is soortgelyk aan dié van die Kaapse Klopse en die Maleierkore, wat veral prominent na vore kom tydens die Kersfees- en Nuwejaarsfeestelikhede in die Kaap. Alhoewel hierdie drie groepe ‟n nou verbintenis tot mekaar het en dikwels deur die publiek saamgroepeer word, funksioneer hulle onafhanklik van mekaar en is daar beduidende verskille in kultuur, repertoire, kleredrag, organisatoriese struktuur en samestelling. Hierdie studie fokus op die Perseverance Kersfeesorkes en ondersoek dié orkes in sy vele fasette binne die raamwerk van wat in die musiekwetenskap deesdae “gemeenskapsmusiek” genoem word. Die kenmerke van die begrip “gemeenskapsmusiek”, soos dit in die laaste 15 jaar in ander lande geformuleer is, word aan die hand van die Perseverance Kersfeesorkes getoets om uit te vind of die Perseverance Kersfeesorkes as ‟n voorbeeld van gemeenskapsmusiek beskou kan word en, omgekeerd, of die begrip “gemeenskapsmusiek” aan die hand van hierdie geval in alle opsigte gepas is of dalk aangepas moet word. / ENGLISH ABSTRACT: Christmas Bands are a Christian tradition within the Coloured community of the Western Cape that instils discipline and values amongst members of this community and promotes music within previously disadvantaged and under-privileged sectors of society. The history and background of the Christmas Bands is similar to that of the Cape Minstrels and Malay Choirs, who are very prominent during the Christmas and New Year festivities in the Cape. Although these three groups have a close connection they function independently of each other. There are significant differences amongst these groups in respect of culture, repertoire, uniform, organisational structure and composition. This study focuses on the Perseverance Christmas Band and examines this band in all its different facets within the framework of what, in current musicological terminology, is called “community music”. The characteristics of the concept of community music, as they have been formulated in other countries over the last 15 years, are tested against the Perseverance Christmas Band to determine whether the Perseverance Christmas Band should be understood as a example of community music and, vice versa, whether the concept of community music itself is valid when measured against the Perseverance Christmas Band or whether it needs adjustment or expansion.

The conviction that the music competition festivals should be better organized and better administered has led to the study of this topic by many serious-minded music leaders.The present study will deal with this all important phase of the contest or festival--the organization and administration of a vocal competition festival. The writer has no intention of setting down a set of rules and regulations to be followed by all directors of contests in all situations. He rather would suggest the use of a set of findings which should help contest directors to organize and administer an event which should be of great educational value both to the directors and the students.

The purpose of this study was to assess on a national level, high school band directors' reasons for their bands' participation in six different types of competitive music activities, identify important reasons for participation in competitive music activities, and examine if statistically significant differences existed between the magnitudes of importance reasons for participation when subjects' responses were grouped by type of competitive activity, frequency of participation in a competitive activity, and by groupings of U. S. states similar in terms of general participation in competitive music activities, emphasis upon ratings or rankings as an indication of a high school band directors' success, and emphasis upon participation in competitive music activities.

This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material / Doctor of Philosophy (PhD)

Abstract The aim of the present study was to work out how students of soloist music education construct their identities in their life stories and what they narrate about the meaning of significant persons, instrumental teachers and instrumental studies for the advancement of their studies. In addition, it was worked out what the soloist students narrate about their performances in music competitions and how recognition achieved in music competitions appears in their stories. Research problems were solved by using narrative-biographical approach and the data were collected by interviewing five students in the soloist department at the Sibelius Academy. Three of them were interviewed five times and two of them four times. The data were collected during the years 1999-2002. The analysis of the data has been done both horizontally (thematic analysis) and vertically (narrative analysis). In the present study the construction of identity is regarded both as a social identity project and as a personal identity project. Social interaction with significant persons and recognition achieved through successful studies and music competitions are regarded as essential factors in the construction of identity. So, the experiences achieved during the long process of instrumental studies are an important element in the construction of identity. The Finnish instrumental education system establishes the essential context in which the life stories of the students take place and the identities of the students are constructed. The students who participated in the present study have begun instrument playing early before starting school, but for a long time it has been one hobby among others. In many descriptions one particular instrumental teacher is regarded as a key person for the orientation of the studies. With the support of a teacher of this kind instrumental studies have become professional. At the beginning of soloist studies the main motivation for music studies is pleasure of playing, not any special professional mission. When the studies continue, the identity of a student begins to be constructed to be e.g. that of a chamber musician or a musician. In the present culture music competitions have become one of the most important ways of getting social respect and recognition for one?s talent in music society. The students who participated in this study have begun their competing at high school age. The present study reveals competitions to be very essential but also conflicting events in the lives of the students. Some students even regard competitions as the most important events from the point of view of orientating to professional studies. On the other hand, competitions and preparing for them during the studies may have been felt to be phases of extreme stress and to cause feelings of insufficiency. / Tiivistelmä Tutkimuksen tarkoituksena oli selvittää, miten solistisen koulutuksen musiikinopiskelijat rakentavat identiteettiään omaa elämäänsä kuvaavissa kertomuksissa ja mitä he kertovat merkittävien ihmisten, soitonopettajien ja soitonopiskelun merkityksestä opintojensa etenemiselle. Lisäksi tutkimuksessa selvitettiin, mitä musiikinopiskelijat kertovat osallistumisestaan musiikkikilpailuihin ja miten heidän kertomuksissaan tulee esiin kilpailuissa saatu tunnustus. Tutkimusongelmia selvitettiin narratiivis-elämäkerrallista tutkimusotetta käyttäen, ja aineistona oli viiden Sibelius-Akatemian solistisen koulutuksen opiskelijan haastattelut. Tutkimuksen kuluessa kolmea opiskelijaa haastateltiin viisi kertaa ja kahta opiskelijaa neljä kertaa. Tutkimusaineisto kerättiin vuosien 1999-2002 aikana. Aineiston analyysi tehtiin sekä horisontaalisesti (temaattisesti) että vertikaalisesti (narratiivinen analyysi). Tutkimuksessa identiteetin rakentumista tarkasteltiin sekä sosiaalisena että persoonallisena identiteettiprojektina. Identiteetin rakentumisessa pidetään osaltaan olennaisina sosiaalista vuorovaikutusta merkittävien ihmisten kanssa sekä opintosuoritusten ja kilpailujen kautta saatavaa tunnustusta. Opiskelijoiden identiteetin rakentumisessa merkityksellisiä ovatkin pitkän soitonopiskeluprosessin mukanaan tuomat kokemukset. Suomalainen soitonopetusjärjestelmä muodostaa sen keskeisen kontekstin, johon musiikinopiskelijoiden elämää kuvaavat kertomukset sijoittuvat ja jossa musiikinopiskelijoiden identiteetti rakentuu. Opiskelijat ovat aloittaneet soittamisen jo runsaasti ennen kouluikää, mutta soittaminen on ollut pitkään yksi harrastus muiden joukossa. Useissa kuvauksissa jotakuta tiettyä soitonopettajaa pidetään avainhenkilönä opintojen suuntautumisen kannalta. Tällaisen soitonopettajan johdolla, peruskoulun loppupuolella, opiskelijan opinnot ovat saaneet tavoitteellisen, ammattimaisuuteen suuntaavan käänteen. Solistisen koulutuksen opintojen alkaessa opiskelijoiden tärkeimpänä motivaationa opinnoissa on halu soittaa, ei niinkään minkään erityisen musiikin alan työtehtävän tavoittelu. Opintojen edetessä opiskelijoiden musiikki-identiteetti alkaa rakentua esimerkiksi kamarimuusikko-identiteetiksi tai muusikko-identiteetiksi. Musiikkikilpailuista on tullut nykykulttuurissa yksi merkittävimmistä sosiaalisen arvonannon saamisen välineistä musiikin alalla. Kilpailut ovat yhä huomattavampi tapa saada tunnustusta omille kyvyilleen ja parantaa asemaansa musiikkiyhteisössä. Musiikkikilpailuihin osallistuminen on tutkimuksen opiskelijoilla alkanut lukioikäisenä. Tutkimuksessa tulee esille, että kilpailujen merkitys on musiikinopiskelijoiden elämässä hyvin tärkeä mutta kilpailut aiheuttavat myös ristiriitaisia tunteita. Jotkut opiskelijat pitävät kilpailutilanteita jopa merkittävimpinä tapahtumina ammattiopintoihin suuntautumisen kannalta. Toisaalta kilpailut ja niihin valmistautuminen on voitu kokea äärimmäisen stressaavina, riittämättömyyden tunteita aiheuttavina vaiheina opintojen aikana.

This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. Through a mixture of discussions, modal analysis and reflections upon performance, it deconstructs the music of the 2/4 competition pipe march and the aesthetics surrounding competition performance. Focussing on a small number of the world's leading Highland bagpipers, this research demonstrates how overall sound combined with the individual choices about repertoire and how to play it, results in the maintenance of individual identity. In chapter three, analysis of the ‘modal complex', comprising pitch sets, hierarchies, phrasing-structure, the double-tonic, structural tones, melodic motifs and rhythm-contour motifs reveal the characteristics of various modes in the 2/4 competition pipe march. As an insider of this music-culture, I offer a definition of mode based upon motivic content rather than pitch set. The modal complex is framed by an understanding of how pipers themselves think about their competitive tradition. Understanding the concepts presented in this thesis provides an original and holistic picture of how Scottish bagpipe competition performance sounds the way it does.

Submitted in fulfilment or partial fulfillment of the requirements for the degree of Master of Education in Music in the Faculty of Education at the University of Zululand, 1993. / A big question for the researcher is whether the current school choir competitions have positive or negative effects on the choristers and the rest of the community. Therefore the aim of this study is to look for the possibilities of enriching this choral practice or drawing everyone's realisation to the effects that exist in choral competitions. The procedure of interviews and questionnaires has been employed because not much information about this study has been investigated and preserved. The habit of competitions is retraced back from the Zulu culture, where there exists a non-musical competition. Speech and melody, harmony and rhythm is cited with the nature and African tendencies in mind. The NATAL AFRICAN TEACHERS' UNION is an organisation that has made and kept school competitions going. Four regions of NATAL have been used as a field of study. This is because each of these regions has a college, and colleges also serve as a source of information. Questions used during research have been justified with an intention of making it possible for the researcher to get information related to attitude, experience, amount of participation and the level of literacy.

Amakwaya refers to the tradition and performance practice of choirs in South Africa that emerged from the mission-schools in the nineteenth century and is manifest today in the annual competitions held by various Teachers' Associations or company-sponsored events like the National Choir Festival. This choral practice, combining Western music styles with African tradition, bears the marks - both social and aesthetic - of colonial and missionary influences, and is closely linked to the emerging black middle class, their process of negotiating identity, and their later quest for a national culture. Many aspects of contemporary amakwaya performance practice, it is argued, including the recent interest of many members of the amakwaya community in opera, can be understood through an analysis of the social dimensions of these choirs. Particular attention is given to the role played by competitions and the sectionalised repertoire. The criticisms made in this regard flow from an understanding of the social meaning and aesthetic thrust of the tradition, from the author's practical involvement with the choirs, and from extensive discussions with choristers and conductors. The first part of the thesis is concerned with identifying the role played by European values such as those of education and progress, in the self-understanding of the emerging missioneducated black South African elite in the second half of the nineteenth century. An initial tendency towards uncritical imitation and attempts at assimilation ended in the experience of rejection by the settler community and isolation. It was followed, in the last quarter of the nineteenth century, by a complex negotiation between traditional and modern values. With political, social and economic mobility restricted in white South Africa, the black middle class turned towards artistic expression such as choral singing in order to define and express a distinctively African concept of civilisation. In this process, amakwaya performance developed into a powerful means whereby class identity and consciousness could be constructed and communicated. The second part looks into the framework of amakwaya, and at the mission schools and colleges they attended and the competitions they organise. As a result of the practice of hymn singing, participation in a choir soon became an important part of the leisure time activities of the early mission converts. This formative phase of amakwaya is illustrated in a case study of one of the most influential schools in Natal, Adams College, near Amanzimtoti, where the first black South African School of Music was established. In order to promote the values important to the missionaries as well as their converts - discipline, progress, and success - competitions were encouraged at the mission stations. These became models for the competitions which today are the main feature of amakwaya practice. The voices of various members of the community are used to present a critical evaluation of the positive and negative aspects of present-day competitions. The last part of the thesis concentrates on amakwaya repertoire, particularly as it is represented at important choral competitions such as the National Choir Festival. This part also attempts to facilitate an understanding of the genesis, structure and aesthetic of the sectionalised repertoire, which consists of neo-traditional songs, Western compositions, and choral works composed by mission-educated musicians. Strict adherence to the sectionalised repertoire is a unique feature of amakwaya performance practice to the present day. / Thesis (Ph.D.-Music)-University of Natal, 2002.

Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.

In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry. / Dissertation (MMus)--University of Pretoria, 2011. / Music / Unrestricted