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Thesis (Ph. D.)--University of Pennsylvania, 1974. / Zeghere van Male was the owner and collector of the partbooks. Includes index. Includes bibliographical references (leaves xxiv-cxiii).

Thesis (M. Phil.)--University of Hong Kong, 2002. / Includes bibliographical references (leaves 159-166).

The purpose of this thesis is to find out how gender roles are described in musical lyrics written for children. I used gender theories that describe how stereotypical gender roles are displayed in music and these theories were later compared with the songbooks I studied. The thesis is a qualitative study to detect masculine and feminine related differences in the texts. After having read, analyzed and compared over 200 songs I found that the stereotype notions of masculinity and femininity is reflected in songs. Society has transferred in this way normative values on to the children through the songs that teachers choose to sing in schools. / Syftet med denna studie var att ta reda på hur könsroller beskrivs i musiken och visorna för barn. Jag använde genusteorier som beskriver hur stereotypa genusroller uppstår och genom att pröva dessa teorier i relation med sångböckerna, försöka finna svar på mina frågor. Studien är en kvalitativ studie för att upptäcka skillnader mellan maskulinitet och femininitet i text. Efter att ha läst, analyserat och jämfört över 200 sånger fann jag att stereotypa föreställningar om vad som är manligt och kvinnligt återspeglas i visorna. De normativa värderingar som samhället har idag överföras på detta sätt vidare till barn genom de sånger vi väljer att sjunga i skolan.

The focus of this study was to locate the lacuna that exists between cultural history and musicology, in order to assess processes of affect and meaning in vocal music as a vehicle for understanding the South African Boer psyche and circumstances during the war. The pursuit of locating the lacuna was best served by employing qualitative research methods that reflect the phenomenological paradigm. This allowed for an in-depth understanding of the Boers in terms of their own interpretations of reality, as well as the understanding of society in terms of the meanings that people ascribe to the societal practices in that society. A cultural-historical approach was necessary in order to highlight the experiential world of the Boers and gain some insider perspectives of the war. This approach did not, however, have much to say about the role of Boer vocal music in generating and articulating social and cultural meanings. On the other hand, the musicological approach which was based on research grounded in an examination of hand-notated musical scores, drew little attention to the role of music’s meanings in the social, historical and cultural circumstances of the Boer people during the war. After the historical context, which generated the vocal music was understood; the researcher was able to identify the lacuna as an aural void, due to the fact that affect and meaning cannot be grounded exclusively in an examination of cultural history or musical symbols decontextualised from sound. The background information allowed for the lyrics to be interpreted in melodic configurations, which were equated with particular moods, emotions and cultural meanings. This thesis thus responded to and succeeded in assessing insight and understanding into the psyche and circumstances of white South Africans during the Anglo Boer War. The thesis concluded by proving that by highlighting the aural void it was possible to move cultural history towards an accommodation with musicology. Through Boer vocal music it was thus possible to critically shape understanding of the experiential world of the Boer during the Anglo-Boer War. / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

In this thesis I investigate transformational practices in the secular music of mid-fifteenth-century German sources. At the heart of the research are case studies of the Lochamer Liederbuch with its two sections - a song and a keyboard collection - and of the newly discovered Wolfenbüttel Lute Tablature. By analysing and comparing the different versions of pieces surviving in these and related sources I explore how they interacted and what the motivations and techniques behind their transformation were. The organist and lute player Conrad Paumann and his 'School' were central driving forces in this process, which led to numerous innovations, particularly in the development of instrumental music and its notation. I then investigate the question of the instrumental accompaniment of monophonic song and how the development of new instruments and techniques influenced and shaped the melody types in the late medieval sources. To do this, I consult the genre of Neidhart songs as an oeuvre of secular song that was cultivated and transmitted in sources from the thirteenth to the fifteenth centuries. The network of interdependencies between repertoires enables an analysis of transformational practices in the songs of Oswald von Wolkenstein, which are influenced by the Neidhart-genre. The analysis comes full circle with reworkings of his melodies in the Lochamer Liederbuch and related sources. The study shows that vocal music and instrumental intabulations influenced each other mutually to create new repertoires and styles. Amongst the most significant insights are the findings around the WolfenbÃ1⁄4ttel Lute Tablature, which open up a field of hitherto unknown instrumental practices and playing techniques, particularly on the plectrum lute. The process of transferring intabulation techniques from the keyboard to other polyphonic instruments leads to the formulation of a coherent, 'pan-instrumental' style of solo intabulation in the fifteenth century.

published_or_final_version / Music / Master / Master of Philosophy