Please read the abstract in the dissertation / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted

Musiek was geen vreemde verskynsel in die Ou Testament en antieke Nabye Ooste nie. Om die waarheid te sê was musiek en die instrumente wat gebruik was om musiek te maak, deel van elke volk binne die antieke Nabye Ooste en nou vervleg met hul kultuur en godsdiensverering. Verskeie vorme van musiek soos sang, dans, orkesmusiek en musikale instruksie was algemeen bekend asook `n hele aantal musiekinstrumente, waar onder snaar-, wind- en perkussie-instrumente tel. Van hierdie drie kategorieë waarin antieke musiekinstrumente ingedeel is, was sommige meer en ander minder populer. Die vraag ontstaan watter musiekinstrumente dan die mees populerste was en waarom? En het hierdie musiekinstrumente dieselfde prominensie in die Ou Testament gehad? Die bekendste volke van die antieke Nabye Ooste word bestudeer ten einde te verstaan watter rol musiek binne hul onderskeie kulture gespeel het, asook watter musiekinstrumente die meeste aandag geniet het. Op dieselfde wyse word gekyk na die Israeliete binne die konteks van die Ou Testament met spesifieke verwysing na musiek en musiekinstrumente binne die Psalmbundel. Argeologiese en ikonografiese voorstellings word gebruik om `n beter prentjie te skets van hoe musiekinstrumente gelyk het en hoe die antieke mens musiek gemaak het. Die frekwensie van voorkoms van musiekinstrumente binne die Ou Testament en Psalms word uitgewys ten einde die mees prominente instrumente te identifiseer. Uit bogenoemde word dit duidelik dat die ramshoring, harp en lier die belangrikste musiekinstrumente binne die konteks van die Ou Testament (en meeste volke van die antieke Nabye Ooste) was en dat die ramshoring die meeste in oorlog en aanbidding gebruik was. ENGLISH : Music was no strange phenomenon in the Old Testament and ancient Near East. To be honest music and the instruments used to make music formed part of every nation of the ancient Near East and were very much part of their culture and worship practices. Various forms of music, i.e. singing, dancing, orchestral music and musical instruction was generally known, as well as a whole lot of musical instruments, which included string-, wind- and percussion-instruments. Of these three categories in which ancient musical instruments were divided, some were more and others less popular. The question is then raised which of these musical instruments were the most popular ones and why? And did these instruments enjoy the same prominence in the Old Testament? The most well-known nations of the ancient Near East is studied in order to understand the roll which music played in each nation, as well as which musical instruments enjoyed the most attention. In the same manner the Israelites is studied in the context of the Old Testament with specific reference to the music and musical instruments in the Psalms. Archeological and iconographical representations are used to create a better picture of how musical instruments looked and how the ancient people made music. The frequency in which musical instruments are mentioned in the Old Testament and Psalms is shown in order to identify the most prominent instruments. From the above-mentioned it becomes clear that the ram’s horn, the harp and lyre were the most important musical instruments within the context of the Old Testament (and most nations of the ancient Near East) and that the ram’s horn were used the most in times of war and worship. / Dissertation (MA(Theol))--University of Pretoria, 2012. / Old Testament Studies / unrestricted

Abstract only in Afrikaans. Talle oorsake van die swak bladleesstandaard kan teruggevoer word tot probleme met die waarneming van die kompleksiteite van die tweedimensionele notebeeld. 'n Oorsig van die belangrikste navorsing wat oor hierdie twee dimensies - toonhoogte en toonduur - gedoen is, word ten aanvang gegee. Die denkhandelinge van die kognitiewe-, psigomotoriese- en affektiewe leerdomeine word breedvoerig ondersoek, die verband hiervan met die bladleesproses aangetoon en ernstige probleme en leemtes betreffende bladleesopleiding blootgelê. Wat kognitiewe denkhandelinge betref word onder andere gewys op die feit dat die eienskappe van ken en kennisverwerwing op die vroegste stadium van musikale ontwikkeling grootliks verontagsaam word. Eweneens kom probleme in die ontwikkeling van psigomotoriese denkhandelinge voor omdat die gebeuresekwense vir optimale motoriese ontwikkeling aan die meeste onderwysers en leerlinge onbekend is. Dit blyk ook dat affektiewe gedrag by bladlees meesal 'n negatiewe konnotasie het. Daar is by leerlinge onsekerheid en vrees vir bladlees met 'n gevolglike faal-angs wat die bladleespoging kan laat misluk. Vervolgens word aandag geskenk aan die funksies van die onderskeie geheuestore van die brein, die proses van blokvorrning en die verskynsel van hemisferisiteit. Die invloed van interferensie op die leesproses en op oog-hand-span tydens bladlees asook die konteks-sensitiwiteit van die korttermyngeheue en die implikasies daarvan, word uitgewys. Die waarde van blokvorming, waardeur musieksimbole as eenhede waargeneem word en daar nie op enkelnote gekonsentreer word nie, word beklemtoon. Die moontlikheid dat individue as leergestrem beskou kan word as gevolg van hemisferiese spesialisasie of laterale dominansie en die moon tlike effek daarvan in die bladleessituasie, word in 'n ernstige lig beskou. Indringende navorsing oor sowel die positiewe as negatiewe aspekte van hemisferiese spesialisasie, word bepleit. 'n Deeglike ontleding word gedoen van die foute wat in 32 bladleestoetse gemaak is. Foutering met die mees algemene komponente van toonhoogte en toonduur in isolasie sowel as in musicale konteks, word gerneet. Die ooreensternrning van fouteringswyses in verskillende moeilikheids-grade en toetse en die omvang en herhalende aard van foute, dui op grondliggende probleme in die mondering van bladlesers. Die verband van hierdie foute en probleme met die denkhandelinge van die leerdomeine en met breinfunksies asook moontlike oorsake vir die foute en probleme, word bespreek en toegelig. Ten slotte word die dringende behoefte aan vernuwing in bladleesopleiding op sowel andragogiese as pedagogiese vlak uitgespreek en verskeie vernuwingsmomente en metodes ter vernuwing, uitgespel. / Thesis (PhD)--University of Pretoria, 2012. / Music / unrestricted

No Abstract available / Thesis (DMus)--University of Pretoria, 2008. / Music / unrestricted

This study is a hermeneutic-phenomenological investigation with the aim of understanding the meanings that the NWU-PUK Rugby Institute players attributed to their lived experience of listening to music before a game. In answering this central research question, two sub-questions were also explored to find out what the rugby players experienced while listening to music before a game and how they experienced listening to music in terms of the context, situation and conditions. Ten NWU-PUK Rugby Institute players participated, eight of whom played in the same team, and two who played in different teams. Reflective essays were collected with follow-up semi-structured interviews with the chosen participants. Using ATLAS.ti 7, the data were analysed. Codes were conceptualised into categories and themes, links were made and patterns were identified. The results revealed four broad themes: 1) Nothing can distract me; 2) Activate and deactivate; 3) Affect regulation and 4) Well-being. These themes formed the basis of what the participants experienced while listening to music, with all four themes resulting in preparation for a rugby game. / MA(Musicology), North-West University, Potchefstroom Campus, 2015

This study is a hermeneutic-phenomenological investigation with the aim of understanding the meanings that the NWU-PUK Rugby Institute players attributed to their lived experience of listening to music before a game. In answering this central research question, two sub-questions were also explored to find out what the rugby players experienced while listening to music before a game and how they experienced listening to music in terms of the context, situation and conditions. Ten NWU-PUK Rugby Institute players participated, eight of whom played in the same team, and two who played in different teams. Reflective essays were collected with follow-up semi-structured interviews with the chosen participants. Using ATLAS.ti 7, the data were analysed. Codes were conceptualised into categories and themes, links were made and patterns were identified. The results revealed four broad themes: 1) Nothing can distract me; 2) Activate and deactivate; 3) Affect regulation and 4) Well-being. These themes formed the basis of what the participants experienced while listening to music, with all four themes resulting in preparation for a rugby game. / MA(Musicology), North-West University, Potchefstroom Campus, 2015

Traditional dances of the South Sotho of Qwaqwa were studied as a product of culture. The two major objectives were: to document, and analyse specific South Sotho dances and relate them holistically to the culture; and to determine which dances of the girls and the women would be suitable for inclusion in the Syllabus for Physical Education for Girls in the Republic of South Africa according to certain educational criteria. The aspects investigated in the study included the following: 1. An ethnographic image of the South Sotho relating to ancestry, way of life and culture; 2. Dance as a cultural phenomenon and the place and function of dance in the culture of the South Sotho; 3. The notation of selected dances, an analysis of the dance movements and choreographic structure of the dances; 4. The educational value of folk and ethnic dances for implementation in the physical education programme, according to relevant objectives. The techniques used to identify, classify, document and analyse the dances, included fieldwork done through personal observation, participating observation, video filming of the dances, sound recordings of the songs and personal interviews. The sequence of steps was notated descriptively and graphically. The movements of the free body segments and dance technique were described and the floor pattern of each step sequence, the information with the accompaniment and the floor plan of the dance were transcribed graphically. The number of repetitions of the step sequences and the order of the parts of the dances were notated according to counts. The following dances were identified: women's dances - mokgibo, moqoqopelo, ledingwana, thojane, timiti and famu; girls' dances - mokgibo, play dances, ndlamu and bale dances; men's dances - mohobelo, mokorotlo, diphotha and setapo; boys dance the same dances apart from the mokorotlo. Wedding dances and thojane are also danced together by both sexes. The four dances which were documented include the wedding dance Ausi o manele, a play dance (Tikwe ha malome), ledingwana-women's dance (Diponono ha kena basadi) and mogogopelo women's dance (Ke lelekuwe bohadi). The main findings of the study indicated that dance is still closely interlinked with the cultural life of the South Sotho and that the purpose of the dance manifests itself mainly in terms of social recreation. Specific dances of the South Sotho can be utilized in a meaningful way in the physical education programme for girls because of the educational value, the link with the cultural objectives of the folk dance section of the syllabus and the relevance to the present needs of society. / Thesis (MA) -- PU vir CHO, 1985

Traditional dances of the South Sotho of Qwaqwa were studied as a product of culture. The two major objectives were: to document, and analyse specific South Sotho dances and relate them holistically to the culture; and to determine which dances of the girls and the women would be suitable for inclusion in the Syllabus for Physical Education for Girls in the Republic of South Africa according to certain educational criteria. The aspects investigated in the study included the following: 1. An ethnographic image of the South Sotho relating to ancestry, way of life and culture; 2. Dance as a cultural phenomenon and the place and function of dance in the culture of the South Sotho; 3. The notation of selected dances, an analysis of the dance movements and choreographic structure of the dances; 4. The educational value of folk and ethnic dances for implementation in the physical education programme, according to relevant objectives. The techniques used to identify, classify, document and analyse the dances, included fieldwork done through personal observation, participating observation, video filming of the dances, sound recordings of the songs and personal interviews. The sequence of steps was notated descriptively and graphically. The movements of the free body segments and dance technique were described and the floor pattern of each step sequence, the information with the accompaniment and the floor plan of the dance were transcribed graphically. The number of repetitions of the step sequences and the order of the parts of the dances were notated according to counts. The following dances were identified: women's dances - mokgibo, moqoqopelo, ledingwana, thojane, timiti and famu; girls' dances - mokgibo, play dances, ndlamu and bale dances; men's dances - mohobelo, mokorotlo, diphotha and setapo; boys dance the same dances apart from the mokorotlo. Wedding dances and thojane are also danced together by both sexes. The four dances which were documented include the wedding dance Ausi o manele, a play dance (Tikwe ha malome), ledingwana-women's dance (Diponono ha kena basadi) and mogogopelo women's dance (Ke lelekuwe bohadi). The main findings of the study indicated that dance is still closely interlinked with the cultural life of the South Sotho and that the purpose of the dance manifests itself mainly in terms of social recreation. Specific dances of the South Sotho can be utilized in a meaningful way in the physical education programme for girls because of the educational value, the link with the cultural objectives of the folk dance section of the syllabus and the relevance to the present needs of society. / Thesis (MA) -- PU vir CHO, 1985

Introduction Alternative medicine has been employed in the treatment of several diseases. Listening to music after minor surgery has been beneficial regarding pain control. Aim The aim of this study was to determine the effect of music on intravenous patient-controlled (PCA) morphine consumption after hip or knee replacement. Methods This was an open label, randomized controlled trial. Forty (twenty per group) consecutive patients scheduled for arthroplasty were included. A standardized anaesthetic technique was used, consisting of propofol, sufentanil, rocuronium, and isoflurane. Postoperatively patients were allocated to one of two groups: Group M listened to music during the first 24 postoperative hours, while Group C did not listen to music. The PCA dose consisted of morphine 1.5 mg and droperidol 83.3 ìg with a lockout time on seven minutes. Rescue doses of morphine 15 ìg/kg intravenously every one-minute until the patient was pain free was administered by a nurse according to a visual descriptive pain score. Both groups received paracetamol 1 g intravenously six hourly. After 24 hours the total (PCA plus rescue) morphine dose was recorded. Morphine consumption in groups was analysed using the one-sided Student two-sample t test. The significance level was 0.05 and the power 0.95. Results Neither the PCA usage (p = 0.4138) nor the rescue doses of morphine (p = 0.9163) differed significantly between the groups. Conclusion Although a statistical difference could not be shown in this study, music during the postoperative period does offer a pleasant distraction from this overall undesirable experience. AFRIKAANS : Inleiding Alternatiewe medisyne word dikwels gebruik vir die hantering van verskeie siektetoestande. Daar is al aangetoon dat deur na musiek te luister voordelig is na geringer chirurgie ten opsigte van pynbeheer. Doel Die studie het ten doel gehad om die effek van musiek na heup- of knievervanging op intraveneuse pasiënt- beheerde morfienverbruik (PBA) te bepaal. Metodes Hierdie was ʼn enkel-blinde gerandomiseerde gekontroleerde studie. Veertig (twintig per groep) agtereenvolgende pasiënte geskeduleer vir gewrigsvervanging is by die studie ingesluit. ʼn Standaard narkosetegniek is gebruik, bestaande uit propofol, sufentaniel, rokuronium en isofluraan. Die pasiënte is postoperatief aan een van twee groepe toegedeel: Groep M het gedurende die eerste postoperatiewe 24 uur na musiek geluister terwyl Groep K nie na musiek geluister het nie. Die PBA-dosis het bestaan uit morfien 1.5 mg en droperidol 83.3 μg met ‘n uitsluitingstyd van sewe minute. Addisionele dosisse morfien is toegelaat. Dit is intraveneus deur die verpleegkundige volgens ʼn verbaal beskrewe pynskaal toegedien en het bestaan uit 15 μg/kg IV elke een minuut totdat die pasiënt volgens haar oordeel pynvry was. Beide groepe het ook sesuurliks parasetamol 1 g intraveneus ontvang. Vier en twintig uur na die operasie is die totale morfienverbruik (PBA plus bykomende dosisse) aangeteken. Die morfienverbruik in groepe is geanaliseer met behulp van die eenkantige tweesteekproef-t-toets. Die beduidenheidspeil was 0.05 en die onderskeidingsvermoë 0.90. Resultate Daar was tussen groepe geen beduidende verskil ten opsigte van die PBA (p = 0.4138) en die bykomende dosisse (p = 0.9613) morfien nie. Gevolgtrekking Alhoewel daar geen statisties beduidende verskil tussen groepe aangetoon is nie, bied musiek gedurende die postoperatiewe fase ʼn aangename afleiding van die andersins onaangename ondervinding. Copyright / Dissertation (MMed)--University of Pretoria, 2010. / Anaesthesiology / unrestricted

The Dutch born organist, conductor, music pedagogue, church musician and composer, Willem Mathlener left a rich inheritance in the field of organ music in South Africa. He was born in 1909 in Delft in the Netherlands and distinguished himself as an organist and conductor in the thirties and forties of the previous century. He answered the calling of the Nederduitsch Reformed Church in South Africa to improve the standard of church music by immigrating to South Africa in 1948 at the age of 39. He settled in Vereeniging as a music teacher and organist from where he started to introduce his ideas about church music to the Nederduitsch Reformed Church and others. This led to the establishment of the Council for Church Music in 1951. Three years later the Church Music School in Krugersdorp was founded. This institution developed to such an extent that the Conservatoire for Music, Pretoria was established in 1960, the institution that Mathlener was mostly associated with. He implemented his beliefs about musical training which was the result of his own training at a European Conservatoire at both these institutions. As the secretary of the Council for Church Music he had a profound influence on the development and promotion of church music in South Africa. He assisted in the compilation of the Psalm and Hymn book of 1978 by supplying a large number of harmonisations for Hymns in this volume. As an organ advisor he designed about 200 organs. Mathlener’s talent as a composer developed naturally through his capacity as church musician and pedagogue. He composed organ music that can be used supplementary to the organist’s task as accompanist. His piano music fills the need for short study pieces for piano tuition. Since the majority of Mathlener’s compositions do not exceed 30 bars he can be considered to be a miniaturist. His choral arrangements show for the most part a diatonic tonality and a contrapuntal texture which blends in with the style of music for liturgical use. A Psalm or Hymn melody forms mainly the basis for his organ music. Mathlener’s large compositional output which comprises 223 choral harmonisations, 175 works for organ, 53 works for piano and 12 vocal works created the need for a system to arrange his compositions in an orderly fashion. Some of his compositions were published in volumes and others are single unpublished works. The catalogue attempts to arrange Mathlener’s compositions in a logical way thus forming a comprehensive picture of the oeuvre of this composer as well as providing a useful reference tool for organists and other interested people. / Dissertation (MA)--University of Pretoria, 2015. / tm2015 / Music / MA / Unrestricted