<p> A research programme is presented for the analytical. evaluation of the deflections of Vierendeel trusses comprised of semi-rigid connections under panel feint loadings. The semi-rigid connections are made of two unequal width square ESS members welded at right angles. As the flexibility of the joints increases when the width ratio is less than 1.0, the joints are unable to develop the moment capacity of the web member and excessive deflections limit functional capability of the truss. Hence, several types of joint reinforcement are recommended. A yield line method is attempted to estimate the strength capacity of the joint with and without reinforcements. In addition, a plate analysis forms the basis for estimating elastic joint stiffness for evaluating anticipated deflections at mid span. </p> / Thesis / Master of Engineering (MEngr)

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The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences. / School of Music

During World War II the composer Kurt Weill was in America writing for the Broadway stage. On August 27, 1943, he became an American citizen and was eager to volunteer his talent to the American war effort. Among his many wartime musical contributions are fourteen songs, all with war-related texts, which can be divided into three distinct groups: the American propaganda songs (8), the German propaganda songs (2), and the Walt Whitman songs (4). It is the purpose of this paper to present a comparative analysis of a representative group of these war songs (two from each group) in order to illustrate Weill's musical versatility. The American propaganda songs were written in a purely popular song style; sung by Broadway actors; directed toward an American audience; with texts by the Broadway lyricist Oscar Hammerstein II and the Hollywood movie executive Howard Dietz. The German propaganda songs were written in a cabaret song style; sung in German by Weill's wife, Lotte Lenya; directed toward a German audience behind enemy lines; with texts by the German playwright Bertolt Brecht and the German cabaret writer Walter Mehring. The Four Walt Whitman Songs were written in a classical art song style; sung by classically trained singers; directed toward a general audience; with texts by the nineteenth-century American poet Walt Whitman. After an initial discussion of Weill's early musical training and career in Europe, his exile from Germany, his reception in America, and his contributions to the American war effort, each group of war songs is analyzed musically, textually, vocally, in reference to the audience to whom it was directed, and with regards to vocal performance practice. Comparisons and conclusions are then drawn. Kurt Weill's war songs are valuable for musical study, both in terms of examining his ability to write equally well in various musical styles and as an opportunity to learn more about music and society during the turbulent years' of World War II.

This thesis is about selection processes and processes of measuring and judging athletes in competitions in top-level sport. The purpose was to increase the knowledge of these processes and to analyse them from a validity perspective in order to contribute to the discussion of whether the “right” athletes are selected to participate in teams, competitions and games and whether the “right” athletes win. The rule and judging systems were investigated in the judged sports acroski and rhythmic gymnastics. Information was gathered through individual interviews with two judges, two coaches, and four elite athletes from each of the sports, and in addition to this the respective sport’s rule systems, judging manuals, meeting protocols and historical documents were studied. Selections to top-level sport teams were investigated by individual interviews with 14 top-level coaches (selectors) from the national league in soccer and a national team and from national teams in alpine skiing. The results from the judging study showed that both studied sports had undergone major changes in their rule and judging regulations, changes that had a considerable impact on the sports and the judgements. The level of definition of the rules and regulations was raised to increase the opportunities for clear and reliable judgements, but this became problematic for the overall validity of the judgements. The reason for this was that the new rules and regulations did not clearly correspond to the original idea of the sport, since the specified and detailed regulations lead to less originality and freedom in the performances. In the selection study, the results pointed to great differences in how precisely defined the selection criteria were among the teams. The selectors stated that well-defined selection criteria or grounds could be helpful in many ways, but they also emphasised how important it was for them that some parts of the selections were based on their subjective valuations of the athletes. Quite a few coaches from both sports argued that they would choose an athlete with good behaviour and favourable personality over an athlete with better sports skills, if they had an opportunity to do that depending on the selection system that was used. Overall, this research displays how validity issues connected to the selection and judging criteria and these processes might affect the outcome of the processes. It is notable that high reliability is in the main focus of the measuring and judging processes, while considerably vaguer and more subjective assessments are considered important in the selection process. The thesis points to the importance of discussing and understanding the consequences of rules, rule changes, selection and judging criteria as well as how these processes are performed, if the desired outcomes and consequences of the selection and judging processes are to be reached.

During his lifetime, Johann Christian Bach (1739--1782) was considered the most famous musician of the Bach family throughout England and Europe. Although his music was highly regarded in the eighteenth century, little scholarly work has been undertaken on the historical and analytical aspects of his compositions. His keyboard compositions are valuable in tracing his musical development since this was the only genre that he wrote throughout his career in Berlin, Milan and London. Previous analyses of Bach's keyboard music have mainly focused on stylistic development, thus neglecting the importance of phrase and larger formal functions. / I adopt William Caplin's theory of formal functions to analyze Bach's solo keyboard sonatas: the Solo in A minor from Berlin (1750--55), three sonatas from the Milan collection (1755), six sonatas from London Op. 5 (1767), and six sonatas from London Op. 17 (1773--4). I demonstrate that Bach gradually refines phrase and thematic functions of the exposition of first-movement sonatas. I examine Bach's use of core technique and subordinate theme-like units in development sections and discuss the reasoning behind different recapitulation strategies. I also compare the sonata forms of the first movement to the second and third movements, and discuss other types of large-scale formal design (theme and variations, minuet and trio, and rondo). / Many sources indicate that Mozart was greatly influenced by Bach, but they remain vague in describing the type and extent of this influence. Building on previous melodic, motivic and stylistic studies, I draw important phrase-structural connections between the music of Bach and Mozart. I discuss the construction of Mozart's early piano pieces (KV 6 through K 284) and demonstrate that he adopts particular phrase-structural and thematic designs similar to pieces from Bach's Op. 5 and 17 collections. Through form functional analysis, I illustrate Bach's development of phrase and thematic structures and provide important phrase-structural evidence of his influence on the music of Mozart.

It is the purpose of this thesis to discuss and compare the canzoni of Frescobaldi and Froberger and to show something of their influences on their successors.

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Thesis (MA) -- University of Stellenbosch, 2004. / Examines theme and conflict in the drama Ditshwantshiso tsa Zakes Mda, which was translated into Sesotho / ENGLISH ABSTRACT: This study examines theme and conflict in the drama Ditshwantshiso tsa Zakes Mda, which was translated into Sesotho by M.W. Tsiu, and published by Unisa Press, in 2002 in Pretoria. This drama book has five plays. Chapter 1, introduces the aims of study, problem identification as well as the organization of study. Chapter 2, deals with literature review on theme and conflict. Chapter 3, is the analysis of theme and conflict in Se kgitlile lejwe. Chapter 4, analyses theme and conflict in Re tla binela fatshe la bontate. Chapter 5, is the analysis of theme and conflict in Mantswe a tebileng a a /la. Chapter 6, is the analysis of theme and conflict in Lera/la. Chapter 7 analysis of theme and conflict in Tsela. Chapter 8, deals with conclusion about theme and conflict in Ditshwantshiso tsa Zakes Mda. It is found that in these five plays, Zakes Mda try to make us aware about the events in the past in South Africa, a political system in which white people had power over black people and made them live separately. We learn from these plays how should we live together and happily. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die tema en konflik in drama boek Ditshwantshiso tsa Zakes Mda, soos dit vertaal is in Sesotho deur M.W. Tsiu, en uitgegee is deur Unisa Press, in 2002 in Pretoria. Hierdie dramaboek bevat vyf toneelstukke. Hoofstuk 1, stel die doel van die studie voor, identifiseer probleme, asook die organisasie van die studie. Hoofstuk 2, hou verband met teorlee en metodes wat in die studie gevolg word. Hoofstuk 3, ondersoek die tema en konflik in Se kgitlile lejwe. Hoofstuk 4, ondersoek die tema en konflik in Re tla binela fatshe la bontate. Hoofstuk 5, ondersoek die tema en konflik in Mantswe a tebileng a alia. Hoofstuk 6, ondersoek die tema en konflik in Leralla. Hoofstuk 7, ondersoek die tema en konflik in Tsela. Hoofstuk 8, gee die gevolgtrekking van die studie, met tema en konflik in Ditshwantshiso tsa Zakes Mda. Dit bied 'n opsomming van die belangrikste bevindinge van die studie. / Thuto ena e reretswe ho hlahloba mokotaba Ie kgohlano bukeng va lakes Mda, e leng, Ditshwantshiso tsa Zakes Mda, e fetoletsweng Sesothong ke M.W. Tsiu, mme va phatlalatswa ka selemo sa 2002, ke Unisa Press, Pitoria. Buka ena e na Ie ditshwantshiso tse hlano. Tshwantshisong ka nngwe ho tlo shebanwa Ie mokotaba, ho boelwe ho shebanwe Ie kgohlano. Kgaolo va 1, ke selelekela sa thuto ena ka bophara. Mona ho hlaha nalane va lakes Mda ha kqutshwanyane, sepheo Ie hlophiso va mosebetsi ona. Kgaolo va 2, e hlahisa diteori tse tla sebediswa ho manolla mokotaba Ie kgohlano ditshwantshisong tsena tsa lakes Mda. Kgaolo va 3, ho hlahlojwa tshwantshiso va, Se kgitlile lejwe, moo ho shejwang mokotaba Ie kgohlano. Kgaolo va 4, ho hlahlojwa tshwantshiso va, Re tla binela fatshe la bontate, moo ho shejwang mokotaba Ie kgohlano. Kgaolo va 5, ho hlahlojwa tshwantshiso va, Mantswe a tebileng a a /la, moo ho shejwang mokotaba Ie kgohlano. Kgaolo va 6, ho hlahlojwa tshwantshiso ve, Lera/la, moo ho shejwang mokotaba Ie kgohlano. Kgaolo va 7, ho hlahlojwa tshwantshiso va, Tsela, moo ho hlahlojwang mokotaba Ie kgohlano. Kgaolo va 8, ke qeto, mme ho tlo shejwa hore na mokotaba Ie kgohlano di fihletswe, mme bohlokwa ba ditaba ke ho sheba ka moo mawala a dingolwa a sebedisitsweng ka teng; tsela eo mokotaba 0 fihletsweng ka ona Ie tsela eo kgohlano e hlahang ka teng. Qeto e fihlellwang ke hore lakes Mda 0 re elelliswa ka diketsahalo tsa nakong va kgethollo, mme thuto eo re e fumanang ke va hore re tshwanetse ho phela ha mmoho Ie ka kgotso.