The contributions made by American composers to the repertoire for women's chorus have increased significantly since 1940. This study was undertaken because previous investigations are international in scope and do not give an adequate view of the broad range of American works now available. Criteria established for works to be included in the study were as follows: (1) original compositions by American composers; (2) at least six minutes in duration; (3) available to the public from a publisher, composer, or repository of American works; (4) publication or composition date after 1940 and before 1980. The study includes both secular and sacred works. Qualitative comments were avoided because they were not consistent with the object of the study. Since numerous works are out of print and are almost impossible to obtain, the 91 works annotated in the study represent but a portion of the total output of American composers. Each annotation includes composer name; composer dates (when available); title of composition; date of publication or composition; text source; voicing; ranges of individual parts; level of difficulty; duration; accompaniment medium; and publisher and catalog information. A descriptive paragraph on the work in toto and on each movement or set piece briefly discusses text content, harmonic background, melody, rhythm, tessitura, meter, texture, form, role of accompaniment, and/or other salient features.

Not available / text

This research constitutes a detailed study of 5 - 6 voice-leading technique that is often found in music - theoretical literature and in the tonal repertoire. The study aims to prove that this technique is an essential theoretical and analytical concept for understanding the evolution of tonal music. / The first part of this study examines concepts and descriptions of 5 - 6 technique as they appear in the theoretical literature of the eigthteenth and nineteenth centuries and in the writings of Heinrich Schenker and the modern Schenkerian school. The descriptions of 5 - 6 technique in earlier conterpoint, figured-bass and harmony treatises led Schenker and his disciples to place the technique in a much broader context, though even they do not always grasp the full implications of their procedures. / In the light of William Caplin's recent theory of formal functions, (Caplin 1985; 1998), the second part of the thesis in a substantial selection of musical excerpts from the eighteenth through the early twentieth centuries, demonstrates that 5 - 6 technique as a contrapuntal analatycal concept, provides an effective model for understanding the development of chromaticism and the extension of the tonal language at multiple structural levels.

No description available.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: This thesis attempts to understand questions of our past in the present. It is broadly premised on the assumption of complicity as an interpretive frame in which the relationship between Apartheid intellectualisation and Afrikaans music historiography can be elucidated. Its protagonists are Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen and Jacques Philip Malan. In each of the four chapters, I attempt to construct metaphors, points of intersection or articulation between Apartheid intellectualisation and Afrikaans music historiography. Music is never entirely absent: for Apartheid ideologues such as Geoffrey Cronjé and Gerrie Eloff musical metaphors become ways of enunciating racial theories, for the Dutch musicologist Jan Bouws music provides entry into South Africa and its discourses, for J.P. Malan music becomes a conduit that could facilitate national goals and for Rosa Nepgen music constitutes the perfect domain for and the gestating impulse of her own often ornate national devotions. Some of the themes addressed in this thesis include the language and metaphors of Apartheid intellectualisation, discourses of paranoia, struggle, purity, contamination, the ‘Afrikanermoeder’ (‘Afrikaner mother’), the cultural language of Afrikaner nationalism and the reciprocity between cultural fecundity and dominance of the land. The final denouement comprises a positing of the Afrikaans art song ‘O Boereplaas’ and the singing soprano Afrikanermoeder who emerges as the keeper of Afrikaner blood purity, guardian of her race and prophet of its fate and future. / AFRIKAANSE OPSOMMING: Hierdie tesis probeer om vrae uit ons verlede in die hede te verstaan. Die aanname van komplisiteit verskaf ’n premis en interpreterende raamwerk waarbinne die verhouding tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie belig kan word. Die protagoniste van hierdie tesis is Gerrie Eloff, Geoffrey Cronjé, H.F. Verwoerd, Piet Meyer, Jan Bouws, Rosa Nepgen en Jacques Philip Malan. In elk van die vier hoofstukke poog ek om metafore, punte van kruising of artikulasie tussen Apartheid-intellektualisering en Afrikaanse musiekhistoriografie te konstrueer. Musiek word nooit buite rekening gelaat nie: vir Apartheid-ideoloë soos Geoffrey Cronjé en Gerrie Eloff word musikale metafore maniere hoe teorieë oor ras geformuleer kan word, vir die Nederlandse musikoloog Jan Bouws verleen musiek toegang tot Suid-Afrikaanse kulturele diskoerse, vir J.P. Malan word musiek ’n kanaal waardeur nasionale doelstellings vloei en vir Rosa Nepgen verteenwoordig musiek die ideale omgewing en teelaarde vir haar eie en gereeld oordadige nasionale lofuitinge. Sommige van die temas wat in hierdie tesis aangespreek word sluit in die taal en metafore van Apartheid intellektualisering, diskoerse van paranoia, stryd, suiwerheid, kontaminasie, die Afrikanermoeder, die kulturele taal van Afrikanernasionalisme en die wederkerigheid tussen kulturele oplewing en oorheersing van Suid-Afrika. Die tesis word tot slot gevoer deur ’n besinning oor die Afrikaanse kunslied ‘O Boereplaas’ en die singende sopraan, die Afrikanermoeder, wat na vore tree as die bewaarder van Afrikaner-bloedsuiwerheid, oppasser van haar ras en die profetes van die volk se lot en toekoms.

Thesis (MMus) -- University of Stellenbosch, 2000. / ENGLISH ABSTRACT: The topic of this thesis is the life and music of Hendrik Hofmeyr, from his birth in 1957 until July 1999. The discussion on his life focusses on the events that influenced the establishment of his works and also those that had an effect on the style in which Hofmeyr composes. Although he experienced a steady development and growth as a composer, Hofmeyr's ten year stay in Italy and the event of the 1997 Queen Elisabeth of Belgium Composition Competition can be mentioned as major influences on his life and thus on his work. Hofmeyr's ideas on music are discussed in Chapter 2. To understand the intention of his music, it is important to know something of Hofmeyr's approach to music. The chapter concludes that Hofmeyr can be described as a 'romantic' composer which provides the reason why he has always been outspoken against the avant-garde which characterises much of the artmusic of the zo" century. The style analysis of the following chapter looks at three important parameters of any composer's style: harmony, melody and form. It further also discusses Hofmeyr's use of counterpoint and the specific playing techniques he requires of instruments. These two aspects stand out as particular to the composer's style. Due to the scope of the thesis, these aspects are dealt with in a limited way. A more detailed discussion of two compositions follow, the song cycle Alleenstryd and the String Quartet. Besides an analysis of both works, attention is also given to how the composer's ideas on music are manifested in these works. The thesis concludes with a detailed list of works including all works composed up to July 1999. 50 compositions are listed. To allow for maximum exposure of each work, the duration as well as a description of each work are added to the otherwise standard information. / AFRIKAANSE OPSOMMING: Hierdie tesis behandel Hendrik Hofmeyr se lewe en werk as komponis vanaf sy geboorte (1957) tot en met Julie 1999. Die beskrywing van sy lewe is daarop gerig om aan te dui hoe die gebeure in sy lewe die totstandkoming van sy komposisies en die styl van sy musiek beïnvloed het. Hoewel daar 'n geleidelike ontwikkeling in sy groei as komponis bestaan, kan sy tienjarige verblyf in Italië en die Koningin Elisabeth van België Komposisiekompetisie in 1997 as belangrike invloede uitgelig word. In hoofstuk 2 word Hofmeyr se idees oor musiek bespreek. Om die intensie en gedaante van Hofmeyr se musiek te verstaan, is dit belangrik om hierdie uitgangspunte van die komponis te begryp. In die hoofstuk word die gevolgtrekking gemaak dat Hofmeyr in wese 'n 'romantikus' is en dat hy daarom reeds sedert sy studentejare sterk uitgesproke is teen die avant-garde wat 20ste eeuse kunsmusiek kenmerk. Die stylanalise wat daarna gemaak word, behandel drie belangrike parameters van enige komponis se styl: harmonie, melodie en vorm. Verder sluit dit ook Hofmeyr se gebruik van kontrapunt in en die spesifieke speeltegnieke wat hy van instrumente verlang. Hierdie twee aspekte staan uit as besondere eienskappe van die komponis se musiek. Vanweë die omvang van die tesis, is die bespreking van hierdie aspekte redelik beperk. In Meer gedetaileerde bespreking van twee werke volg, naamlik die sangsiklus Alleenstryd en die Strykkwartet. Buiten 'n analise word ook na ander aspekte van hierdie werke gekyk, soos byvoorbeeld die wyse waarop die komponis se uitgangspunte oor musiek in hierdie werke tot uiting kom. Die tesis sluit af met 'n volledige werklys wat alle werke tot en met Julie 1999 insluit. Daar is altesaam 50 werke. Om soveel as moontlik inligting te verskaf, word buiten die standaard-inligting, ook die tydsduur en 'n beskrywende paragraaf oor elke komposisie ingesluit.

Not available / text

No description available.

No description available.

Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.