abstract: As clarinet compositions created by Taiwanese composers have not been widely discussed and published in academia, this research paper examines three unaccompanied clarinet works by three Taiwanese composers: Ballade by Hsiao-Wen Tseng, Chin Thoughts III by Ling-Huei Tsai, and Pointe de Flame by Chia-Lin Pan, all commissioned by the author in 2007. This research also includes a compact disc with recordings of these works, aiming to document the creativity of Taiwanese composers. This research paper examines these three commissioned works by analyzing their overall musical styles, notations, formal structures, rhythmical and melodic materials, unconventional clarinet techniques as well as the influence of Chinese musical elements. The analysis reveals the distinctive characteristic of each piece. Moreover, the author provides composers' insights and performance guides to help interested readers practice these pieces. To further understand how the composers create these pieces by drawing upon different life experiences, the paper also includes information about their backgrounds, program notes, lists of compositions, and music examples for reference. The author found that collaborating with these composers helped to establish a closer composer-performer relationship in interpreting the music. It is hoped that this compact disc recording will help make Taiwanese composers' clarinet works more accessible to a wider audience. Moreover, this research paper hopes to generate more interest in performing and appreciating music composed by Taiwanese composers. / Dissertation/Thesis / D.M.A. Music 2011

abstract: The introduction of a new instrumental piece—specifically Taiwanese—into the cello repertoire is as exciting as it is important. Currently, the majority of works for cello and piano include predominantly Western compositions that is repeatedly taught and performed. Reflections, by Taiwanese composer Ming-Hsiu Yen (Ms. Yen) is a response to this saturation. It is a piece that is both demanding for the performers and entertaining for the audience. Brilliantly written by a composer who has intimate familiarity with both the cello and piano, it is highly suitable for scholarly study and performance. This document details ensemble issues, interpretative suggestions for both cellist and pianist, and general concepts about the music. The composer further adds to these concepts and suggestions. Reflections is a programmatic work comprised of four movements, each with a descriptive title: “Gear,” “Tears of the Angel,” “Spintop,” and “Transformation.” Because the composer’s intentions were driven by pictorial ideas and not by a formal harmonic structure, this paper concentrates on ensemble issues and interpretation less than harmonic analysis. Secondly, the project includes the premiere recording of Reflections, as performer by Yu-Ting Tseng, cellist, and Dr. Jeremy Peterman, pianist. This audio documentation provides other cellists and pianists the opportunity of hearing the piece as originally conceived by the composer, as an aid to their own future preparation of this work. This recording, combined with the interpretative analysis, will assist in bringing Reflections into the cello repertoire and public eye. / Dissertation/Thesis / Reflections Recording Movement I Gear / Reflections Recording Movement II Tears of the Angel / Reflections Recording Movement III Spintop / Reflections Recording Movement IV Transformation / Doctoral Dissertation Music 2016

This research focuses on a rock art recording process as a possible social development project from a Communication for Participatory Development perspective. The study is part of and builds on the wider National Heritage Council-funded Biesje Poort: KhoiSan rock art recording project. The wider project’s overall objective is “to alert and assist the local authority to the presence of a KhoiSan Heritage resource/s in their area of jurisdiction and assist in developing its educational and tourism potential” (NHC/Lange 2010, proposal). One of the project’s secondary objectives is to transfer skills in the recording and representation of the rock engravings and broader cultural landscape via GPS mapping to members of a present day KhoiSan community in the Northern Cape, as well as to young researchers from a variety of educational institutions in South Africa. My research explores and documents the role of participatory communication in the project including its promotion of skills transference, empowerment, and the level of participation amongst all participants. In doing so, the research investigates the dialogue, power relations and research negotiation between members of the multicultural and multidisciplinary research team. Data is gathered via participant observation and face-to-face interviews that is then analysed against participatory development communication principles as outlined in models such as Communication for Participatory Development (Kincaid & Figueroa, 2009), and strategies such as Participatory Action Research (PAR). Findings generated from this study reveal that in spite of all challenges encountered by participants the intended project objectives were met. This study further provides an insight into other possible research outcomes that could be achieved by implementing a participatory communication research with multicultural and multidisciplinary participants. Taking into account the possible influence that this research’s contextual dynamics could have exerted on the outcomes, recommendations have been made that further research be undertaken on a broader scale to provide more definitive evidence of using this approach. Further recommendations are made that dialogue, and skills acquisition or transference, be at the heart of every participatory communication. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2012.