No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1982.

Haydn wrote approximately forty-five keyboard Trios between 1760 and 1796. About fifteen of them date from his youth and the rest from the later part of his creative life. This study traces the changes in the Minuet-type movements in these Trios, commencing with the early Minuet and trio da capo works in which the Minuet and trio each conform to a binary structure; continuing with the sophisticated composite tri-partite structures of the Tempo di Menuetto movements of the middle-period works; and ending with the late period and the eventual demise of movements with Minuet indications in their titles. As background to the above, the study traces the Minuet from its origins in the dance through to its place in the newly emerging Sonata plan. An investigation into the beginnings of the keyboard Trio assesses the position of the Minuet movement within the Trio genre. Background material also draws on Haydn's socio-musical environment, and the relation of his social and psychological circumstances to his composition of keyboard Trios and, more specifically, to the Minuet-type movement within the Trio. The study raises a number of questions during the course of the investigation, the most important of which relate to the morphological changes in Minuet-type movements and to their gradually declining presence in the Trios. In conclusion, the findings show that although the Minuet movement is generally considered to be the least complex of the movements of the Sonata plan, these movements reflect many aspects of the newly born Sonata form. Additionally, a number of style-characteristics occur with such regularity that they may well be regarded as reliable indications of Haydn's "Minuet style". / Thesis (M.Mus.)-University of Natal, Durban, 1991.

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

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1982.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1981.

The pieces presented in this portfolio are in some ways a synthesis of my own musical history up to this point in time. Though I was scarcely aware as a child, I now know that the diverse strains of modem African American music and their largely non-African American inspirations originate from the larger, older branches of Jazz and Blues. Nevertheless, the music that forms the lion's share of my early musical memories-African American and African American inspired music- is still quite distinct from its West African ancestral music that I would later come to learn and love so much. After being inspired primarily by Rhythm and Blues, Rock, Blues and Jazz through the pre-teen and teenage years, I discovered Latin music of Cuban origin. Soon after that I began to explore traditional Afro-Cuban and West African music. These new musics resonated strongly with me, and I began to learn and play them not long after that first exposure. A probable reason for the aforementioned resonance lies in the 'rhythmic priming' provided by my early exposure to African American music. This state of rhythmic awareness was excited by the complex rhythmic interplay subsequently heard between West African musicians and between Afro-Cuban musicians, hinted at but rarely as fully developed in the African American music I was used to. In retrospect, it makes perfect sense that this rhythmic sensibility, developed through exposure to American music, would be stimulated and fulfilled by traditional West African percussion music. As much as I came to enjoy that type of polyrhythmic, percussion based music, however, in time I also began to wonder at the possibility of creating a similar music but with more harmonic movement, perhaps even modulation to different keys. This would require different instruments, and it would require mastery of another musical world: that of western, and in particular for my sensibilities, Jazz harmony. This pursuit-the attempt to combine at once an African rhythmic sensibility with a Jazz harmonic sensibility-is one that will no doubt occupy me for some time into the future. It is also a major source of inspiration, sometimes obvious and at other times more subtle, in the creation of this portfolio. The aforementioned fusion of African rhythm and Western harmony, in conceptual terms, is not something altogether new. That rhythmic, melodic and harmonic complexities co-exist in the Jazz tradition is no secret. What's more, much of the music referred to as 'Latin' is named as such because it has already absorbed and incorporated the rhythmic vitality of the African origins of much of the populace, and their predisposition to Afro-Latin (Afro-Cuban, Afro-Dominican, Afro-Puerto Rican, Afro-Brazilian, etc.) folkloric music with its direct link to the percussive music of West Africa. However, composition and arrangement are processes of the individual. I don't claim to be the first one to attempt the stated objective combination of African and European elements; what I can say is that I am the first one to do it in my own particular way. Thus this portfolio presents a combination, not only of different styles, but of underlying objectives as well. These objectives have been in mind throughout the creative process. In addition to the aforementioned objective of blending African and Jazz elements (1), it has been my intent to demonstrate proficiency in more traditional Jazz, Latin and even orchestral arranging frameworks (2), hopefully achieving a balance that allows my own voice to shine subtly through (3). / Thesis (M.Mus.)-University of KwaZulu Natal, Durban, 2010.

Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: In this study an investigation into Arnold van Wyk’s song oeuvre — including the published and unpublished (completed and incomplete) songs — is done on the basis of the available composition sketches in the Arnold van Wyk Collection at Stellenbosch University. Firstly, Van Wyk as composer of art song in South Africa was put in perspective against the broader cultural context, especially in relation to Afrikaans poets who were his contemporaries. An overall view is also provided of possible influences that other composers had on his work. This provides an holistic picture of Van Wyk as composer of the art song. In his Juvenilia a surprisingly large amount of his music language is present, though not yet mature. Four prominent periods characterise the discussion of Van Wyk’s song oeuvre. In addition to these periods the study provides a summary that clearly shows his development as an art song composer as well as the musical devices which, in the course of time, became characteristic as part of his style in song writing. Owing to the fact that the setting to music of each song’s vocal part is analysed in close relationship to the source text, the complete text have been provided, with Afrikaans verbatim translations for the Latin and Old Dutch poems. Even though the composer sometimes only sets a couple of stanzas of the text, the complete poem is provided to properly orientate the reader. This allows the complete picture of each song to be taken into account. The relationship between each text and its setting to music of the song’s vocal part is analysed. This also applies to the illustrative meaning of where in the vocal range each text lies (the range as well as tessiture of the vocal part) and the illustrative use of intervals and other melodic devices such as melismas, setting to rhythmic patterns, etc. The accompaniment is investigated, regarding the relationship to and illustrative of the text, complementary to and in support of the vocal part as well as to which extent it supports the song’s formal design. Only the most prominent characteristics of Van Wyk’s highly complex harmonic usage are pointed out. An important aspect of this study is the investigation from a vocal technical point of view into how Van Wyk merged the writing of a vocal melody with his knowledge of the human voice, for instance in Van liefde en verlatenheid as well as in the Petronius songs. Where available, the history of how a song evolved is recorded in great detail, to illustrate the inception of a specific musical idea as well as its development and finalisation, but moreover, to allow the sketches to reveal how tedious (and sometimes even laid-back) the composition process took place most of the time. Van Wyk’s method and tempo of composing can be clearly deduced from the compositional sketches. These conclusions are confirmed and illustrated by his fairly regular dating of his work, and by information such as an address and/or some diary information that he occasionally added. Particulars like these are often included in this study, to shed light on the compositional process as well as on the composer as a human being. To avoid scanning numerous examples of notes, the C1 tot c3 way of spelling the notes is used. / AFRIKAANSE OPSOMMING: In hierdie studie word Arnold van Wyk se liedoeuvre — die gepubliseerde asook die ongepubliseerde (voltooide en onvoltooide) liedere — ondersoek aan die hand van die beskikbare komposisiesketse in die Arnold van Wyk-versameling by die Universiteit Stellenbosch. Ten aanvang word Van Wyk as komponis van die kunslied in Suid-Afrika in perspektief tot die breër kulturele konteks geplaas, veral in verband met sy Afrikaanse digter-tydgenote. Daar word ook oorsigtelik verwys na moontlike invloede van ander komponiste op sy werk. ’n Omvattende beeld van Van Wyk as liedkomponis kom sodoende na vore. Verrassend baie van die musiektaal van sy liedkuns is reeds (wel nog in die kinderskoene) in sy juvenilia aanwesig. Vier prominente tydperke kenmerk die bespreking van Van Wyk se liedoeuvre en word telkens aangevul deur ’n samevatting waaruit sy ontwikkeling as liedkomponis duidelik blyk, asook watter musikale middele mettertyd as kenmerkend van sy liedstyl gevestig het. Omdat die verloop van elke lied sover moontlik aan die hand van die verloop van die teks omskryf word, word die volledige tekste deurlopend gegee, met Afrikaanse woordelikse vertalings by die Latynse en Oudnederlandse gedigte. Al toonset die komponis soms net enkele strofes van ’n gedig, word die hele gedig of ’n gedeelte daarvan nogtans verskaf ter wille van oriëntasie. Die geheelbeeld van die liedere word sodoende in aanmerking geneem. Die toonsetting van die stemparty word ondersoek veral met betrekking tot die woord-toonverhouding. Dit geld ook vir die illustratiewe betekenis van die plasing van die teks in die stemomvang, die omvang en tessituur van die stemparty en die illustratiewe gebruik van intervalle en ander melodiese middele soos melismas, ritmiese verklanking, en so meer. Begeleiding word ondersoek rakende die verwantskap met en illustratief van die teks en as aanvulling en ondersteuning van die stemparty asook in hoeverre dit die vormskema ondersteun. Slegs die opvallendste eienskappe van Van Wyk se uiters komplekse harmoniek word uitgewys. ’n Belangrike aspek van dié studie is dat Van Wyk se vereniging van melodiegewing en sy kennis van die menslike stem, onder meer in Van liefde en verlatenheid en die Petronius-liedere, ook uit ’n sangtegniese perspektief ondersoek word. Waar die ontstaansgeskiedenis van ’n lied beskikbaar is, is dit in fyn besonderhede geboekstaaf, om te toon wanneer ’n spesifieke musikale idee ontstaan het en hoe dit ontwikkel en finale beslag gekry het, maar meer nog, om die komposisiesketse self te laat verslag doen van die meestal werklik moeisame (soms trae) komposisieproses. Van Wyk se komposisionele werkwyse en die tempo van komposisie kan duidelik afgelei word uit die komposisiesketse. Dié gevolgtrekkings word gestaaf en toegelig deur die feit dat hy redelik getrou die werk gedateer en dikwels ook ’n adres en/of ’n stukkie dagboekinligting bygeskryf het. Laasgenoemde word dan meestal bygebring aangesien dit lig werp op die komposisieproses asook die komponis van dié liedere as mens gestalte laat kry. Om inskandering van talryke notevoorbeelde te vermy, word die C1 tot c3-skryfwyse gebruik.

Thesis (M.Mus)--University of Stellenbosch, 2006. / ENGLISH ABSTRACT: For many decades music has been recognised as a medium for therapy. The reasons put forward include the ability of music to inspire people, to motivate, to integrate and to promote relaxation. A strong link exists between human beings and music and this can unite people from different cultures. Music is readily available everywhere. People can attend music concerts or be part of a choir or orchestra. Music is even available in homes at the press of a button. Music therapy is a fairly new concept in which music and psychology are combined. For many years people have used music for healing. It is because music has produced such positive results in problem cases that it is being used in therapy sessions to contribute to the healing process. Although many people have an understanding of what music therapy entails, there are also those with no idea of what it entails. This thesis is an in-depth investigation into music therapy and the possible functional outcomes thereof. The focus is on the music therapist, characteristics that the music therapist should possess, how and why music is used as medium in the therapy process, different methods of therapy and the influence thereof on problems. The position of music therapy in the Western Cape was investigated. To arrive at a reliable conclusion in this regard, people who work with music therapy have been involved. Interviews were held with qualified and non-qualified persons who practice some form of music therapy in the Western Cape. Information from these interviews is interpreted, conveyed and recommendations are made as to the advancement of music therapy in the Western Cape. The purpose of the investigation is to publish information regarding music therapy and the meaning thereof. The larger public must be made aware of the complementary role music therapy can play in the healing process. Eventually music therapy should take its place in health care in the Western Cape, together with other branches of the medical profession such as psychology and career therapy. / AFRIKAANSE OPSOMMING: Vir dekades word musiek al as ’n medium vir terapie erken. Die redes wat hiervoor aangevoer word, is dat musiek beskik oor die vermoë om mense te inspireer, te motiveer, te integreer en om ontspanning te bevorder. Daar bestaan ’n wesenlike verband tussen die mens en musiek en as gevolg hiervan kan musiek mense van verskillende kulture byeenbring. Musiek is oral en vrylik beskikbaar. Mense kan musiekkonserte bywoon, óf deel van ’n koor óf orkes uitmaak. Musiek is selfs deur die druk van ’n knoppie in wonings beskikbaar. Musiekterapie is ’n relatiewe nuwe begrip waartydens musiek en sielkunde gekombineer word. Vir baie jare al word musiek gebruik om te help om mense gesond te maak. Juis omdat musiek sulke positiewe resultate in probleemgevalle getoon het, word dit tydens terapiesessies gebruik om tot die genesingsproses by te dra. Alhoewel baie mense ’n begrip het van wat musiekterapie is, is daar ook diegene wat geen benul het waaroor dit gaan nie. Hierdie tesis is ’n indringende ondersoek na musiekterapie en die moontlike funksionele uitkomste daarvan. Daar word gefokus op die musiekterapeut, eienskappe wat die musiekterapeut behoort te hê, hóé en waarom musiek as medium in die terapieproses gebruik word, verskillende terapiemetodes en hoe dit probleme beïnvloed. Die stand van musiekterapie in die Wes-Kaap is ondersoek. Om tot ’n betroubare gevolgtrekking hieroor te kom, is persone wat gereeld met musiekterapie werk, betrek. Daar is onderhoude met gekwalifiseerde asook niegekwalifiseerde persone wat die een of ander vorm van musiekterapie in die Wes-Kaap beoefen, gevoer. Inligting bekom uit hierdie onderhoude word geïnterpreteer, oorgedra en aanbevelings oor die bevordering van musiekterapie in die Wes-Kaap word gemaak. Die doel van die ondersoek is om inligting aangaande musiekterapie sowel die betekenis daarvan bekend te maak. Die breë publiek moet bewus gemaak word van die aanvullende rol wat musiekterapie in die genesende proses kan speel. Uiteindelik behoort musiekterapie, saam met ander vertakkings van die mediese beroep soos byvoorbeeld sielkunde en beroepsterapie, sy plek in die gesondheidsorg van die Wes-Kaap in te neem.

Thesis (MMus (Music))--Stellenbosch University, 2008. / This study was undertaken to determine the present state of the musical practices of the youth of the !Xun and Khwe San. The study formed part of the NRF project, Mother’s Milk Mother’s Muse, of which the objective was to document and preserve the music of South Africa’s indigenous cultures. This was done by recording the music of children during a series of mini-festivals. A further aim was to develop a renewed interest in their own traditional musical culture. The writer was chosen in 2003 as the project coordinator of the San people of Platfontein in Kimberley. That project has thus formed the basis of the present study of the current musical practices of the youth of the !Xun and Khwe San. Research was done through literature study and participatory action research. General information on these research methodologies is given in the second and third chapters. The ways in which these methodologies were put into practice in the writer’s own study are discussed in the last chapter. Teachers of the !Xunkhwesa school on Platfontein were asked to give their help with the project. These teachers, who teach the Arts and Culture learning area to various grades at the school, were responsible for completing forms with information on musical items. The children were then asked to bring traditional songs to class in the period before the mini-festival. These items were recorded during the mini-festival in September 2005. Descriptions and analyses of the songs are given in chapter five. Similarities with the characteristics of traditional San music as well as general characteristics of African music are also discussed. The conclusions and proposals are discussed in the last chapter.

Thesis (MMUS (Music))--Stellenbosch University, 2010. / ENGLISH ABSTRACT: The South African-born British composer Priaulx Rainier (1903-1986) wrote her Requiem (1955-1956) for solo tenor and choir to a text by surrealist poet David Gascoyne. The poem (completed in 1940) contradicts the commemorative genre of the requiem and instead anticipates the prospective victims of the war that was to come. Due to the disturbances caused by the war, Rainier only started working on the music fifteen years later in 1955. Existing discourse on Rainier has been shaped by the thoughtless regurgitation of opinions, reviews and clichéd biographical models. Since very few detailed analyses of Rainier’s works exist, this thesis attempts to address this gap in research on this composer. It therefore aims to contribute to a more balanced, evidence-based discourse. The significance of the Requiem is that it was said by commentators to indicate a period of increasing abstraction in Rainier’s oeuvre. The findings regarding tonality in this work may therefore serve as a point of reference in future analyses of works preceding and following the Requiem. In the literature review, recurring issues in the discourse on Rainier (such as the numerous references to her childhood in Natal as an influence on her works and the descriptions of her works as possessing a masculine gender identity) is highlighted. The contextualisation that follows includes a reception-based periodisation of Rainier’s works and a “biography” of the Requiem, with a special focus on the intersection between the symbolic world of David Gascoyne and the Requiem and the sculptor Barbara Hepworth’s influence on Rainier’s work. Underpinning these contextual considerations is a set theory analysis of the work that attempts to illustrate the composer’s aspiration towards musical abstraction as a creative force. The findings of the analysis are also contextualised with regard to existing notions of Rainier’s style and tonality in her music. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaans gebore Britse komponis Priaulx Rainier (1903-1986) se Requiem (1955-1956) vir solo-tenoor en koor is ’n toonsetting van ’n gedig deur die surrealistiese digter David Gascoyne. Die gedig weerspreek die gedenkende karakter van die requiem genre deurdat dit vooruitwys na die slagoffers van die oorlog wat op hande was. As gevolg van die onderbrekings wat deur die oorlog veroorsaak was, het Rainier eers vyftien jaar later, in 1955, aan die musiek begin werk. Die ondeurdagte herhaling van opinies, resensies en biografiese clichés kenmerk huidige diskoers oor Rainier. Aangesien daar min gedetailleerde analises van Rainier se werke in die literatuur bestaan, poog hierdie tesis om bestaande leemtes in die navorsing oor Rainier te vul. Dit streef ook na die ontwikkeling van ’n meer gebalanseerde, bewysgebaseerde diskoers. Die belang van hierdie werk setel hoofsaaklik daarin dat dit volgens sommige bronne dui op ’n kenteringsmoment in Rainier se oeuvre, waarna haar werke meer abstrak geword het. Die bevindinge rakende tonaliteit in hierdie werk kan dus dien as ’n verwysingspunt vir toekomstige analises van Rainier se werke wat die Requiem voorafgaan en volg. Herhalende elemente in die diskoers oor Rainier (soos die invloed van haar kinderjare in Natal op haar werke en die beskrywings van ’n manlike gender-identeit in haar werke) word in die literatuurstudie uitgelig. Die konstekstualisering wat volg bestaan uit ’n literatuur-gebaseerde periodisering van haar werke en ’n “biografie” van die Requiem wat fokus op die verhouding tussen simboliek in die werke van David Gascoyne en die Requiem en die invloed van die beeldhouer Barbara Hepworth op Rainier se werke. Die kontekstualisering word gevolg deur ’n ‘set’-teorie-analise van die werk waarin gepoog word om die komponis se strewe na musikale abstraksie as kreatiewe inspirasie aan te toon. Die bevindinge van die analise word dan vergelyk met die bestaande opvattinge oor styl en tonaliteit in Rainier se werke. / COMPOSITIONS: In Paradisum for SATB choir 2 Droom for mezzo-soprano and piano: 11 • Kuspad 14 • Sy 17 • Glasblaser 20 • Glasprater 23 String trio arrangements from Droom: • Glasblaser 26 • Glasprater 30 Het Hom! for tenor saxophone 34 The beauty in sorrow for string quartet: 37 • First Movement 40 • Second Movement 49 • Third Movement 54 Symphonata for orchestra: 61 • First Movement 62 • Second Movement 66 • Third Movement 71 • Fourth Movement 77