Graad R verwys volgens die nuutste Afrikaanse beleidsdokumente na die voorskoolse opleiding wat tans in die Suid-Afrikaanse skoolstelsel ingefaseer word, alhoewel die Departement van Basiese Onderwys beoog dat alle leerders eers in 2019 toegang sal hê tot formele graad R-programme. Uitdagings vir onderrig in vroeë kinderontwikkeling in Suid-Afrika is onder meer ʼn tekort aan gekwalifiseerde onderwysers, asook leer- en ondersteuningsmateriaal van ʼn hoë gehalte. Die Kurrikulum- en Assesseringsbeleidsverklaring (KABV) vir graad R bestaan uit drie vakke: Huistaal, Wiskunde en Lewensvaardighede. Lewensvaardighede bestaan uit vier studie-areas, naamlik Aanvangskennis, Skeppende kunste, Liggaamsopvoeding, asook Persoonlike en Sosiale Welsyn. Slegs dertig minute per week word as deel van Skeppende kunste toegestaan aan formele musiekonderrig. Wanneer musiek in die dagprogram met ander aspekte van graad R-onderrig en -leer integreer word, word die holistiese ontwikkeling van die leerder bevorder. Graad R-onderwysers het egter selde in musiek gespesialiseer en is onseker oor die implementering daarvan in hul onderrigprogramme. Uitvoerbare moontlikhede word in hierdie proefskrif ondersoek om musiek in die graad R-dagprogram te integreer ten einde ʼn bydrae te lewer tot die sosiale, fisiese, emosionele, intellektuele en geestelike ontwikkeling van graad R-leerders. Die hoofnavorsingsvraag wat hieruit ontstaan, is watter teoretiese raamwerk verduidelik hoe musiek in graad R geïntegreer kan word. Die navorsingsbenadering wat gevolg is om hierdie vraag te ondersoek, is ʼn kwalitatiewe, veelvoudige gevallestudie vanuit ʼn interpretatiewe perspektief. Aanvanklik is ʼn literatuurstudie gedoen om huidige tendense ten opsigte van die integrasie van musiek in graad R te beskryf. Daarna is die onderrig en leer in vyf multikulturele graad R-klasse in die Potchefstroom-omgewing waargeneem met die doel om die maniere waarop musiek in die praktyk geïntegreer word, in te samel. Die data is toe met behulp van Atlas.ti 7.1.6 georganiseer en gekategoriseer, waarna ʼn oorkruis gevalle-analise gedoen is. Die bevindinge is geverifieer deur langtermyn-waarneming en deelnemer-kontrole. ʼn Teoretiese raamwerk is ontwikkel deur die ses temas wat uit die data-analise gegenereer is in verband te bring met ʼn geïntegreerde literatuuroorsig. Hierdie aspekte vir die integrasie van musiek in graad R waardeur onderrig en leer kan plaasvind, is geïdentifiseer as oor musiek, uit musiek, op musiek, met musiek, in musiek en deur musiek. In die raamwerk word elke aspek van integrasie verbind met aktiwiteite wat gebaseer is op die leerbeginsels vir graad R, naamlik spel, ontdekking en praktiese ervarings, ten einde die ontwikkeling van die graad R-leerder te bevorder. Alhoewel die bevindinge spesifiek is tot die Potchefstroom-omgewing, hou die teoretiese raamwerk verskeie moontlikhede in vir nasionale en internasionale toepassing in voorskoolse onderrig. Dit impliseer dat musiek suksesvol in die graad R-dagprogram geïntegreer kan word deur musiekspesialiste sowel as onderwysers wat nie in musiek gespesialiseer het nie. / PhD (Music), North-West University, Potchefstroom Campus, 2014

The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance. / PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

Many of the sources indicated in this work are classical and not updated due to the fact that the origins of Gestalt Philosophy are found in classical works / Verskeie van die geraadpleegde bronne in die literatuurhoofstukke verteenwoordig klassieke werke wat nie binne die erkende periode vir relevante wetenskaplike navorsing val nie. Die oorsprong van die Gestalt Filosofie wat in hierdie studie benut is, word in hierdie klassieke werke gevind en is ook in hierdie werke geraadpleeg / The Gestalt approach was used as the contextual framework to explore how music can be used as a therapeutic medium in the treatment of the emotionally traumatized child. Music as a sensory experience was used during the therapeutic process with each case study, to facilitate the child's process towards healing. The conceptual framework of music as a therapeutic medium was researched in depth to bring clarity to the influence it has on the emotional well-being of the child. The child who entered into therapy was selected according to specific criteria, with the experience of emotional trauma being priority. The researcher also studied the concept of emotional trauma in depth and the consequences it has on a child's overall functional ability. Music was used as an expressive technique during the therapeutic process with each child. The conclusion drawn from this study indicated that the gestalt approach can be applied effectively in using music as a therapeutic medium in the treatment of the emotionally traumatized child. / Die Gestalt benadering is gebruik in hierdie navorsing ten einde 'n kontekstuele raamwerk daar te stel waarbinne musiek as terapeutiese medium in die behandeling van emosionele trauma in kinders gebruik kon word. Musiek kan beskryf word as 'n sensoriese ervaring. Hierdie sensoriese ervaring is binne die terapeutiese proses toegepas ten einde die kind se herstelproses te fasiliteer. Die studie is binne die navorsingskonteks van gevallestudieprosedures gedoen. Musiek is binne die konseptuele raamwerk bestudeer en nagevors ten einde die terapeutiese waarde daarvan in diepte te ondersoek. Hierdie in-diepte ondersoek het aan die navorser 'n duidelike beeld gegee hoe dit toegepas kon word in terapie. Deur dit toe te pas in terapie is die invloed van musiek op die emosionele welsyn van die getraumatiseerde kind gedokumenteer. Die navorsingskriteria vir insluiting in die ondersoek was gegrond op die literatuurondersoek en het onder meer die belewing van trauma ingesluit. Die belewing van emosionele trauma en invloed op die kind se geheelfunksionering was dus 'n verdere eenheid van ontleding en is in diepte deur die navorser bestudeer. Musiek is dus gebruik as 'n ekspressiewe tegniek tydens die terapeutiese proses met elke gevallestudie. Die gevolgtrekking waartoe in hierdie studie gekom kon word is dat musiek binne die konteks van die gestalt benadering suksesvol in die hantering van emosionele trauma by die kind gebruik kan word. / Practical Theology / M.Diac. (Play Therapy)

Many of the sources indicated in this work are classical and not updated due to the fact that the origins of Gestalt Philosophy are found in classical works / Verskeie van die geraadpleegde bronne in die literatuurhoofstukke verteenwoordig klassieke werke wat nie binne die erkende periode vir relevante wetenskaplike navorsing val nie. Die oorsprong van die Gestalt Filosofie wat in hierdie studie benut is, word in hierdie klassieke werke gevind en is ook in hierdie werke geraadpleeg / The Gestalt approach was used as the contextual framework to explore how music can be used as a therapeutic medium in the treatment of the emotionally traumatized child. Music as a sensory experience was used during the therapeutic process with each case study, to facilitate the child's process towards healing. The conceptual framework of music as a therapeutic medium was researched in depth to bring clarity to the influence it has on the emotional well-being of the child. The child who entered into therapy was selected according to specific criteria, with the experience of emotional trauma being priority. The researcher also studied the concept of emotional trauma in depth and the consequences it has on a child's overall functional ability. Music was used as an expressive technique during the therapeutic process with each child. The conclusion drawn from this study indicated that the gestalt approach can be applied effectively in using music as a therapeutic medium in the treatment of the emotionally traumatized child. / Die Gestalt benadering is gebruik in hierdie navorsing ten einde 'n kontekstuele raamwerk daar te stel waarbinne musiek as terapeutiese medium in die behandeling van emosionele trauma in kinders gebruik kon word. Musiek kan beskryf word as 'n sensoriese ervaring. Hierdie sensoriese ervaring is binne die terapeutiese proses toegepas ten einde die kind se herstelproses te fasiliteer. Die studie is binne die navorsingskonteks van gevallestudieprosedures gedoen. Musiek is binne die konseptuele raamwerk bestudeer en nagevors ten einde die terapeutiese waarde daarvan in diepte te ondersoek. Hierdie in-diepte ondersoek het aan die navorser 'n duidelike beeld gegee hoe dit toegepas kon word in terapie. Deur dit toe te pas in terapie is die invloed van musiek op die emosionele welsyn van die getraumatiseerde kind gedokumenteer. Die navorsingskriteria vir insluiting in die ondersoek was gegrond op die literatuurondersoek en het onder meer die belewing van trauma ingesluit. Die belewing van emosionele trauma en invloed op die kind se geheelfunksionering was dus 'n verdere eenheid van ontleding en is in diepte deur die navorser bestudeer. Musiek is dus gebruik as 'n ekspressiewe tegniek tydens die terapeutiese proses met elke gevallestudie. Die gevolgtrekking waartoe in hierdie studie gekom kon word is dat musiek binne die konteks van die gestalt benadering suksesvol in die hantering van emosionele trauma by die kind gebruik kan word. / Philosophy, Practical and Systematic Theology / M.Diac. (Play Therapy)

This study is unique as the basic research acknowledges the chorale prelude as a genre in South Africa. The compilation of a catalogue of organ chorale preludes by South African composers is also a first and important contribution to the knowledge of this genre. The history of the organ in South Africa is an integral part of this study and offers a background and context for the research on this specific category of music. Knowledge of the contributions to this genre in South Africa is however limited because the available literature on these topics is dated. Due to the restricted publishing opportunities in South Africa, works are unpublished or informally published and not re-printed or even published in other countries. All available literature was thoroughly researched whereafter there was a need to extrapolate the unsatisfactory data with the primary research. Many composers and organ specialists were approached and different library collections were consulted. The church plays a key role in the history of the organ in South Africa, and this results in the fact that most organ repertoire, by South African composers, is liturgical (church) music. Unfortunately, knowledge of early compositions is unknown and the first documented chorale preludes date from the late 19th and early 20th century. It is only since the middle of the 20th century that South African composers have been actively contributing to the genre reaching a climax during 2010 and 2011 when two volumes of chorale preludes were published by the Suider-Afrikaanse Kerkorrelistevereniging (SAKOV). 1170 Chorale preludes by 78 composers are catalogued with a chronological discussion of the key works, with reference to different styles and forms, as a well-developed genre. / Dissertation (MMus)--University of Pretoria, 2014. / Music / unrestricted

The technique of twelve-tone serialism was developed by Schoenberg to give structure to atonal compositions. The writer was interested in the fact that Dallapiccola’s twelve-tone compositions, as with Berg’s, were easier received by the general public than the works of other serial composers of the time. The reason being that his twelve-tone rows contain tonal elements. The boundaries of the field of study were determined in chapter 1. Terminology and problems encountered with the study were also discussed. To be able to analyse the tonal aspects of Dallapiccola’s rows, the basic outlines of tonality were clearly defined in chapter 2. It was found that tonal suggestions could be achieved by means of using: * tones that form part of a diatonic scale, * explicit triads, * implicit triads, * scale constructions and * tones that outline the tonic. The different types of twelve-tone rows were discussed and illustrated by means of music examples in chapter 3. A list of published works as well as a short discussion of each composition followed in chapter 4. Mention was made whether a work was tonal, atonal or a twelve-tone composition and Dallapiccola’s use of serial procedures in each composition was discussed. Chapter 5 showed where and how the above criteria were used in his rows. The study thus provides evidence that Dallapiccola had tonal references in mind when planning the rows and that tonal suggestions are common in his works. The twelve-tone rows often employ three, four or five of the criteria of implied tonality in a composition. Of the five criteria, tones that form part of a diatonic scale was used the most. This was discussed with all the rows, except Il prigioniero (row of hope) and Cinque frammenti di Saffo’s first and second tone rows. Dallapiccola used tones to outline the tonic in thirty one twelve-tone rows. Implicit triads were used in all but six works. Scale constructions appeared in nineteen works and Dallapiccola’s love for using a few chromatic notes or three consecutive notes of the implied major scale became apparent. Explicit triads only appeared in thirteen compositions. In the other rows, Dallapiccola created a tonal sense by means of other criteria or had a more chromatic approach. Dallapiccola thus used tonal references in the tone rows of his serial compositions and showed that twelve-tone tonality could be used to create a lyrical idiom. In this way the people that were trained in the tonal school could also appreciate twelve-tone compositions. In the opera Il prigioniero, it is especially evident that the Italian tradition of lyricism and dramatic intensity do exist after verismo composers (Morris 1999:257). / Dissertation (MMus(Performing Art))--University of Pretoria, 2005. / Music / unrestricted

Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia. / Thesis (DMus)--University of Pretoria, 2005. / Music / DMus / Unrestricted