Music in the Afrikaans reformed churches has reached a cross-road. This is evident in the many articles written on the subject, workshops held on the issue and outcries for help from several organists in various congregations. Scholars all agree that research on the topic of responsible renewal in church music is necessary. Furthermore, it seems the organ is systematically being dismissed as a church instrument, especially in evening worship services. It seems the organ is (unjustly) thought of as an old fashioned instrument capable of playing only classical music and thus not able to cater for the musical needs of today’s postmodern churchgoer. This study aims to provide recommendations for the renewed usage of the organ in an aesthetic music environment that will assist churchgoers of various spirituality types to worship with conviction. This study is based on thorough research on three specific concepts: 1. Aesthetics: In order to use aesthetics as a valuable tool for music renewal, it must first be established that it is indeed a Biblical concept. Study into the concept of aesthetics in the Bible is undertaken. 2. Spirituality: Every person differs in his perception of worship and this is mainly determined by his spirituality type. The different musical preferences according to these spirituality types are investigated. 3. The organ: The organ has established itself as a versatile church instrument since the Middle Ages. It has adapted to the changing musical styles through the ages. It is reasoned that the church organ can still provide in the musical needs of all churchgoers today. This does not mean that the organ is elevated as the exclusive church instrument, but it is argued that the organ can successfully be used in conjunction with other instruments in worship today. After these three concepts are investigated, practical guidance is given in the usage of the organ in combination with other instruments according to the aesthetical requirements of the different spirituality types in today’s Afrikaans reformed worship service. / Thesis (DMus)--University of Pretoria, 2012. / Music / unrestricted

AFRIKAANS : Hendrik (“Henk”) Temmingh word vandag gereken as een van Suid-Afrika se mees toonaangewende orrelkomponiste. Hy het sy veelsydigheid bewys en veral gevestig geraak as ’n noemenswaardige figuur op die gebied van musiekwetenskap, improvisasiekuns en orrelmusiek. Die doel van die studie is om aan te toon dat Temmingh se oeuvre ’n volledige katalogus van die orrelwerke regverdig en om so ’n dokument saam te stel. Om ’n volledige en juiste biografie van die komponis op te stel, word ’n verdere leemte gevul. ’n Oorsig van Suid-Afrikaanse orrelmusiek en komponiste gee ’n blik oor hoe, waar en in watter mate Temmingh funksioneer as ’n ware Suid-Afrikaanse komponis, alhoewel hy in Nederland gebore is. Addisionele inligting, veral nuwe data oor Suid- Afrikaanse orrelkomponiste soos geboorte- en sterfdatums, word in die dokument genoem. Suid-Afrikaanse komponiste word volgens herkoms en nasionaliteit in drie groepe ingedeel. Eie terminologie word hieraan toegeken. Min bronne oor Temmingh is beskikbaar. Daarom is hierdie mini-verhandeling grootliks met die hulp van die komponis saamgestel. Die gebrek aan genoeg literatuur oor Suid-Afrikaanse orrelmusiek en -komponiste het ’n uitdaging gebied vir die skrywer. Met behulp van die chronologiese katalogus van Temmingh se orrelwerke kan ’n onmiddellike oorsig van sy bydrae as orrelkomponis verkry word. Dit behoort musiekbiblioteke en orreliste te help om hulle onvolledige versamelings aan te vul. Hierbenewens sal die nuut-toegekende katalogusnommers ’n aanduiding gee van waar die betrokke orrelwerke chronologies by Temmingh se oeuvre inpas. ENGLISH : Hendrik (“Henk”) Temmingh can be regarded as one of South Africa’s leading organ composers. He showed versatility and established himself as a significant figure in the field of musicology, improvisation and organ music. The aim of the mini-dissertation is to show how Temmingh’s oeuvre justifies a complete catalogue of the organ works, and to compile such a document. Putting together an accurate biography of the composer, will fill another gap. A survey of South African organ music and composers indicate how, where and to what extent Temmingh functions as a true South African composer, although he was born in the Netherlands. Additional information, especially new data regarding South African organ composers such as dates of birth and death, is mentioned in the document. South African composers are divided into three groups according to origin and nationality. Own terminology is allocated to these. Few sources concerning Temmingh are available. Therefore this mini-dissertation was mainly compiled with the help of the composer. The scarcity of enough literature on South African organ music and composers was a challenge for the writer. An immediate summary of Temmingh’s contribution as an organ composer can be obtained with the help of the chronological catalogue of Temmingh’s organ works. This will help music libraries and organists to supplement their incomplete collections. Apart from this, newly allocated catalogue numbers will give an indication of where the works concerned fit in chronologically in Temmingh’s oeuvre. / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted