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abstract: Bright Summer, a one-movement piece for orchestra, was composed in Arizona, and completed in February 2013. The piece is approximately twelve minutes long. The motivation for writing this piece was the death of my mother the year before, in 2012. The prevailing mood of this work is bright and pleasant, expressing my mother's cheerful personality when she was alive. It also portrays bright summer days which resemble my mother's spirit. Thus, soundscape plays an important role in this work. It depicts summer breeze, rustling sounds of leaves, and, to translate a Korean saying, "high blue skies." This soundscape opens the piece as well as closes it. In the middle section, the fast upbeat themes represent my mother's witty and optimistic personality. The piece also contains the presence of a hymn tune, The Love of God is Greater Far, which informs the motivic content and also functions as the climax of the piece. It was my mother's favorite hymn and we used to sing it together following her conversion to Christianity. The piece contains three main sections, which are held together by transitional material based on the soundscape and metric modulations. Unlike my earlier works, Bright Summer is tonal, with upper tertian harmonies prevailing throughout the piece. However, the opening and closing soundscapes do not have functional harmonies. For example, tertian chords appear and vanish silently, leaving behind some resonant sounds without any harmonic progression. Overall, the whole piece is reminiscent of my mother who lived a beautiful life. / Dissertation/Thesis / D.M.A. Music 2013

Thesis (MMus (Performance)--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The work represented here is a transcription for two pianos of Vladimir’s Round Table, a relatively unknown, large-scale orchestral work by Stefans Grove. This particular transcription involved an intensive study of the orchestral score in order to best reproduce the work in the most effective way possible for two pianos, as well as to create a sound and convincing work for the two-piano repertoire. The process involved academic as well as pianistic substantiations regarding the inclusion or exclusion of various elements of the orchestral score. It is my hope that the final product is a good representation of a work supported by academic research but not so much as to exclude the possibility of freedom of performance. The ultimate aim of this transcription is to hopefully re-ignite interest in the work as well as to expose it to a wider audience and, in turn, encourage performance of the work in its original form. / AFRIKAANSE OPSOMMING: Die werk wat hiermee voorgelê word, is 'n transkripsie vir twee klaviere van Stefans Grové se minder-bekende orkeswerk, Wladimir se Tafelronde (die Afrikaanse titel wat op die titelblad van die manuskrip verskyn). Die transkripsie het 'n deeglike studie van die orkespartituur behels om sodoende die werk ten beste in die klavier-duo genre weer te gee, en om n oortuigende dog bruikbare werk vir hierdie tipe repertorium te skep. Ten einde die insluiting of weglating van bepaalde elemente van die orkespartituur teen mekaar op te weeg, is die proses deur sowel akademiese- en pianistiese oorwegings ingegee. Ek hoop dat die finale produk verteenwoordigend is van n transkripsie wat deur n akademiese ondersoek ondersteun is, terwyl dit ruimte laat vir praktiese oorwegings wat met die uitvoeringsmoontlikhede en -beperkinginge van die klavier-duo weergawe ter sprake kom. Die hoofdoel met die transkripsie is om hopenlik hernude belangstelling in Grove se orkeswerkte te wek; om dit aan 'n wyer publiek bekend te stel, en op sy beurt uitvoerings van die werk in sy oorspronklike gedaante aan te moedig.

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