The National Cadetship Programme (NCP) is part of a comprehensive Education and Development Programme within the KwaZulu-Natal Philharmonic Orchestra (KZNPO). The NCP offers promising young South African players focused coaching and first hand experience of playing in a professional orchestra. One of its main aims is to increase the number of South African musicians in the pool of present and future orchestra musicians. However, though the NCP has been in existence for just over ten years, the demographic representation of the KZNPO remains largely unchanged. This research investigated whether it is necessary to make changes to the NCP in order for it to be more effective. It began by revealing the intended overall structure of the Programme through interviews with the orchestra management, comparing it to what is actually happening, and discussing the implications that this has for learning within the Programme. It also obtained the expectations of the various participants of the NCP regarding the educational process, and evaluated the level at which these expectations were being met. Further, it analysed the reasons why these expectations were or were not being met in terms of experiential learning and programme development, and discussed the implications for the Programme. The research found a lack of clarity amongst the mentors and cadets about the structure of the NCP and the roles expected of them. It also revealed that the formal assessment and feedback procedure needed to be improved in order for it to be more educative, and that the cadets needed to be given more performance opportunities. The research concluded that it would be beneficial to the NCP for experiential learning to be formalised within the Programme with the systematic adoption of an experiential learning model. / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2008.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 2000.

Ambience is deftned by the American Heritage Dictionary as "the special atmosphere or mood created by a particular environment" This definition reveals the ubiquitous and ambiguous identity of acoustic ambience, as "environment" is a broad collective term. Unlike music or dialogue, ambience in film is akin to peripheral vision: once focused upon it loses a collective identity. Yet, there is a means to unravelling the aural atmosphere of a particular environment The solution in defining ambient sound lies primarily in the logical process of eliminating the tangible sound components within the soundtrack of ftlrn. Metaphorically speaking the soundtrack may be seen as a glass jar. The solid rocks placed in the jar are the major components of film: voice, sound effects and music. All other sound is like coloured liquid poured around the rocks. Not only does liquid fill the jar, but also affects the appearance of the rocks. Consequendy we encounter unique practical examples that weaken terminology and provide inevitable exceptions to the rule. The lack of theoretical development in a medium borne in the late nineteen twenties is both mystifying and understandable. Sound is the underdog to visuals, and ambience is overlooked for more recognizable components such as music. Indeed, there are multitudes of books on music and sound effects (impact effects) in film. Ambience however, appears to be advanced in practical application but primitive in theoretical exploration. Exploring sound film holistically has not deterred all theorists. Michel Chion is a pioneer who devises credible terminology with an emphasis on the equality of sound and visuals. Naturally, in a medium rife with subjective interpretation, it is all but impossible to make cut and dry theoretical statements. Chion comments: Of course we must continue to refine and fill in our typology of film sound. We must add new catego~es-not claiming thereby to exhaust all possibilities, but at least to enlarge the scope, to recogmze, define, and develop new areas." [1] This statement outlines the aim of part one. I have drawn on Chion's terminology relevant or related to ambience, as well as defined new areas. The greater part of this research article contains new terminology in cases where no established theoretical identifications relevant to ambience were found. As a reference point, I have created and proposed the following new terms: Ambience as a Cultural Reflector, Ambience as a Musical Trait, Ambience of Indefinite Status, Ambience Recall, Ambient Synchronism, Dual-Perspective Location Indicator, Epic Ambience as Abstract Narrative, Illuminated Sound, Impact Effects, Lexical Ambience, Macro-Contrast and Micro-Contrast, Music as a Hindrance, Ratio of Active or Dormant Diegetic Ambience, Rhythmic Density and Idee Fixe, Source Ambience, and Source Extension. These terms will be explained in part one and illustrated in part two. The terms are significandy applicable to theoretical exploration and are not direcdy intended for a practitioner's utilisation. Unidentified sound components must be discovered in order for analytical insight to expand. This article therefore became an investigation of ambience terminology through necessity owing to the absence of established theory. Part two will demonstrate most of the tangible terms discussed in part one through examples. It seemed more practical to select films that contain at least three constituents of ambience discussed in part one. Two of the films, Blade Runner and 2001:A Space Ocfyssry are recognized as pivotal films for innovative use of sound, and rich source of inspiration for developing new terminology, "Blade Runneris arguably the most famous and influential science fiction film ever made. It has exerted a pervasive influence over all subsequent science fiction cinema, and indeed our cultural perceptions of the future."[2] 2001:A Space Ocfyssry shares similar acclaim, "2001: A Space Ocfyssry (1968) is a landmark science fiction classic-and probably the best science-fiction film of all time."[3] Panic Room and The Fellowship qfthe Ring are contemporary films that both use unique methods in sound design. Naturally, there are hundreds if not thousands of films that would provide further material for theoretical expansion. Within the length limitations of this research article, however, the selection seems equally balanced. / Thesis (M.Mus.)-University of KwaZulu-Natal,Durban, 2005.

This dissertation examines some of the numerous ways in which music can be put to use / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1995.

This research briefly analyses and evaluates selected compositions for flute solo and flute and keyboard in terms of compositional techniques , formal, structure, technical difficulties and problems of performance . The works selected for discussion in this thesis are those of South African-born composers and composers of other nationalities who are resident in South Africa. Six compositions for solo flute and sixteen compositions for flute and keyboard by the following composers have been discussed: Robert Clough Stefans Grove David Hoenigsberg Christopher James Dirk de Klerk David Kosviner Bernard Langley Petrus Lemmer Jacques de Vos Malan Norbert Nowotny Hubert du Plessis Walter Swanson Arthur Wegelin Jeanne Zaidel-Rudolph Paul Loeb van Zuilenberg The aim of the research is primarily to discover and promote little known flute compositions by composers resident in South Africa. These works have been graded as to their suitability for either the concert platform or for educational purposes. / Thesis (M.Mus.)-University of Natal, Durban, 1986.

No abstract available. / Thesis (M.Mus)-University of Natal, Durban, 1976.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1999.

The thesis discusses the following three works composed by Bartok between 1922 and 1938 : Sonata no. 2 for Violin and Piano, Rhapsody no. 1 for Violin and Piano and "Contrasts" for Violin, Clarinet and Piano. Details relating to Bartok's compositional style in the three chamber works are investigated, with particular reference to the role of the piano. The piano writing is not innovative, but the traditional boundaries are extended by means of the melodic idiom, harmonies and rhythms. The thesis considers traceable musical influences viz. folk music and the influence of other composers; form and the tonal-contrapuntal fabric, rhythm and meter, and performance considerations. The value of Bartok's own recordings is addressed with regard to a critical evaluation of Bartok's own interpretation, the importance of the precisely notated scores, the controversial Bartok tempi, the application of rubato and broken chord figurations and Bartok's views on pedalling, articulation and ornamentation. Examples of all the above-mentioned aspects are traced in the three works concerned, and the pianistic style and dynamics and the interaction between the piano and the other instruments are discussed. The three works are compared and Bartok's development as composer of chamber music is traced through this comparison. The existence of Bartok's own interpretation of the Sonata, Rhapsody and "Contrasts", is of particular value to the study and serves as a main point of reference regarding the performance aspect. Using these recordings as a basis, the thesis considers the works from a pianist's point of view and insights are offered into possible problematic areas in performance, in relation to the piano part as well as the ensemble. The knowledge acquired through the preceding analysis of the works assists in a better understanding of the works and ensures an ultimately more successful performance. / Thesis (M.Mus.)-University of Natal, Durban, 1990.

Music in the curricula, music in the schools, supportive materials, and facilities were examined in six out of seven South African educational jurisdictions during the late 1970's. Official views were compared with what actually occurred. A profile of the teachers involved included their training, responsibilities, and status within the educational system. The detailed information was compared with trends appearing in the 1980's. / Thesis (M.Mus.)-University of Natal, Durban, 1987.