Thesis (MPhil)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: The South African Department of Education (DoE) recently introduced a new curriculum for schools. This curriculum, namely Curriculum 2005 (C2005), and later revised as the National Curriculum Statement (NCS), is functional at a national level in South Africa and claims to be a more equitable curriculum than its predecessor by incorporating a philosophy that accommodates all South African learners from diverse cultural and ethnic backgrounds. C2005 (NCS) promotes the principles of outcomes-based education (OBE) and shows a high regard for the Constructivist Learning Theory. In 2006 teachers will be expected to implement the Further Education and Training (FET) Band of the NCS. This study critically investigates C2005 (NCS) with the view to an improved understanding of multicultural education. The focus then turns towards music education by reviewing suggested teaching practices for multicultural music education. Following this is a thorough exploration of several approaches for the teaching of music from diverse cultures with an examination of the various appropriate models for music teaching. However, certain issues arise within the South African context as to whether music teachers have had the necessary preparation for the effective implementation of the prescribed music syllabus of the FET band. The prescribed music syllabus of the FET band includes a variety of musical genres and styles. This analysis culminates in a reflection on African music, which includes an investigation of how African music functions within traditional African societies and an approach for the effective transmission of African music in schools is proposed. Also, arising from numerous reviews concerning the teaching of African music, are opposing convictions that afford the reader an opportunity for creative thought. The lack of adequate didactical resources for the teaching of African music has resulted in a keen interest by the author in employing technology for instructional purposes. This study concludes by exploring recommendations concerning the design of an effective instructional programme that relies on technology and discusses the development of an appropriate technological resource for the teaching of African music. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse Onderwys Departement het onlangs ‘n nuwe kurrikulum aan skole bekendgestel. Hierdie kurrikulum, naamlik Kurrikulum 2005 (K2005), en later die Nasionale Kurrikulum Verklaring (NKV), is van toepassing op nasionale vlak in Suid-Afrika en maak daarop aanspraak om ‘n meer regverdige kurrikulum as sy voorganger te wees deur ‘n filosofie te bevat wat alle Suid-Afrikaanse leerders uit verskillende kulturele en etniese agtergronde akkommodeer. K2005 (NKV) bevorder die beginsels van Uitkoms Gebaseerde Onderwys (UGO) en vertoon ‘n hoë affiniteit vir die Konstruktiewe Leerteorie. Dit sal van onderwysers verwag word om in 2006 die Verdere Onderwys- en Onderrigband van die NKV te implementeer. Hierdie tesis ondersoek K2005 (NKV) krities met die oog op ‘n verbeterde begrip vir multikulturele onderwys. Die fokus skuif dan na musiekopvoeding met ‘n oorsig oor voorgestelde onderwyspraktyke vir multikulturele musiekopvoeding. ‘n Deeglike bespreking van verskeie benaderings vir die onderrig van musiek van verskeie kulture volg dan, asook ‘n ondersoek oor verskillende toepaslike modelle vir musiekonderrig. Sekere kwessies ontstaan egter binne die Suid- Afrikaanse konteks waarby daar gevra word of musiekonderwysers oor die nodige voorbereiding vir die effektiewe implementering van die voorgeskrewe musiekkurrikulum van die VOO-band beskik. Die voorgeskrewe musiekkurrikulum van die VOO-band sluit ‘n verskeidenheid musiekgenres en -style in. Hierdie analise word gevolg deur nadenke oor Afrika musiek, wat ’n ondersoek insluit na die wyse waarop Afrika-musiek binne die tradisionele Afrika-gemeenskap funksioneer. Voorstelle vir die benadering van Afrika-musiek in skole word gemaak sodat die effektiewe oordrag van Afrikamusiek verseker sal word. In hierdie bespreking word teenstrydige opinies wat na vore kom in die talle oorsigte oor die onderrig van Afrika-musiek, voorgehou. Dit bied die leser ‘n geleentheid tot kreatiewe denke. Die gebrek aan geskikte didaktiese bronne vir die onderrig van Afrika-musiek het gelei tot ‘n groot belangstelling by die navorser oor die gebruik van tegnologie vir onderrigdoeleindes. Hierdie studie sluit af met ‘n ondersoek na die ontwerp van ‘n effektiewe onderrigprogram wat op tegnologie gebaseer is, en met ‘n bespreking van die ontwikkeling van ‘n geskikte tegnologiese bron vir die onderrig van Afrika-musiek.

Thesis (MMus (Music))--University of Stellenbosch, 2008. / This thesis provides an overview of different aspects of the application of vibrato on the flute. Although it is a compilation of different viewpoints, it does not offer a conclusion as regards the ‘correct’ application of vibrato, due to the subjective nature of this phenomenon. The intention is that the reader will be able to reach his or her own conclusions and form new opinions regarding this subject. The focus is largely on the comparison of the production of vibrato on the flute with its production on other instruments. The aim is to examine the different choices involved in the production of vibrato when the flute is part of an ensemble and when it is a solo instrument. By learning more about other instruments’ timbres and production of vibrato, it enables flautists to adapt to different timbres in order to form sonorous ensembles. The physiological and scientific aspects of vibrato are also explored with the view to equip flautists with this knowledge. Thus, flautists will be able to listen to and analyse from a more critical and informed perspective how they themselves use vibrato and how other flautists use it. The main goal of this thesis is to provide enough information, opinions, studies and statistics to enable a flautist to make an informed decision concerning their choice and application of vibrato.

Thesis (M.Mus.)-- University of Stellenbosch, 2006. / ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these. / AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.

Thesis (MMus (Music))--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The essential embodiment of the Catholic and Orthodox religious and liturgical traditions is the celebration of the Mass. The Kyrie eleison is the opening part of this Mass celebration. The Kyrie eleison is also an element within the Catholic and Orthodox Office. In the respective Protestant and reformed traditions, the Kyrie eleison figures to a lesser extent, as is the case in the Lutheran tradition, or not at all, as is especially the case in the Afrikaans-speaking reformed denominations in South Africa. At most, the exposure to the Kyrie eleison, by any member of a church of Afrikaans-speaking and reformed persuasion, is confined to the concert hall, in which context the Kyrie presents itself in an alien guise, having been uprooted from its liturgical context which is a co-determinant in the transfer of the meaning of the text of the Kyrie to the listener. This study is an essay to convey the importance of the context of the Kyrie with regard to a successful process of communication between the performance of the Kyrie and the decoding of its message by the listener. It is an attempt to focus, via narrowing concentric circles, on the genesis of the Kyrie, from its antecedents in the Jewish religious tradition, via its manifestations in early Christan cult and chant, to its codification during the pontificate of Gregory the Great. In conclusion, the suggestion is mooted that there is an obligation devolving on the performers of the Kyrie eleison within a non-liturgical context to communicate the meaning of the Kyrie, even in its alien guise, to the audience as receivers of the text, thereby achieving a successful transaction in the process of communication. / AFRIKAANSE OPSOMMING: Die sentrale beliggaming van die Katolieke en Ortodokse liturgies-religieuse tradisies is die viering van die Mis. Die Kyrie eleison is die openingsdeel van hierdie Misviering. Die Kyrie eleison is verder ook ‘n element in die Katolieke en Ortodokse Officium. In die verskillende Protestantse liturgiese tradisies figureer die Kyrie eleison in ‘n mindere mate, soos in die Lutherse tradisie, of glad nie, soos wat spesifiek die geval in die Afrikaanssprekende gereformeerde tradisie is. ‘n Afrikaanssprekende lidmaat van gereformeerde oortuiging se belewing van die Kyrie is, indien hoegenaamd, meestal beperk tot die aanhoor daarvan in ‘n konsertsituasie, waarbinne die Kyrie homself in ‘n ontheemde gedaante aan die luisteraar voordoen omdat dit ontwortel is uit sy liturgiese konteks wat medebepalend vir die betekenisoordrag van die teks van die Kyrie is. Hierdie studie is ‘n poging om die belang van die konteks van die Kyrie met betrekking tot ‘n suksesvolle kommunikasietransaksie tussen die uitvoer van die Kyrie en die dekodering van die boodskap daarvan deur die Afrikaanssprekende gereformeerde luisteraar, na vore te bring. Die ondersoek is hoofsaaklik daarmee gemoeid om die liturgiese ontstaans- en vroeë bestaansgeskiedenis van die Kyrie deur middel van ‘n konsentries nouer-wordende fokus in oënskou te neem, vanaf sy antesedente in die Joodse kultus, via sy presedente in die vroeg-Christelike kultus en cantus, tot die kodifisering daarvan tydens die pontifikaat van Gregorius die Grote. Ten slotte word aangevoer dat daar selfs in ‘n konsertsituasie ‘n onus op die uitvoerendes rus om die Kyrie, ook in sy ontheemde gestalte binne ‘n nie-liturgiese konteks, vir die luisteraar tot spreke te bring.

Thesis (MMus (Music))--University of Stellenbosch, 2009 / Violin vibrato is the action by which a violinist periodically changes the frequency of a sustained note by moving the finger on the string, rapidly backwards and forwards. If it is artistically applied, it adds life, character and warmth to an otherwise dull sounding note. Although it has been used since the sixteenth century, very little research has been done on the reason why humankind would experience such periodic fluctuations as an object of beauty in violin performance. In answering the question, this study explores a variety of angles of approach in order to understand the phenomenon in its full context. The history, development and geographical origin of the technique are firstly discussed in a diachronic fashion and provide the background for the subsequent synchronic research on the physical nature of violin sound and violin vibrato. The vibrato rates and widths of four virtuosi are measured and compared to highlight the differences and individuality which are argued to be a contributing factor to the perception of beauty of the technique. It is established in the final chapter that the brain is stimulated more by sounds with periodic changes than those that are presented in the steady-state which cast some light on why vibrato may be experienced as an appreciated addition to sound. The thesis aims to present a unique view on the possibilities of interdisciplinary research of the phenomenon of violin vibrato. It further aims to present the research findings in a concise, logical, and systematic manner that could be of interest to both musician and scientist.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: In a world of increased mobility, a growing number of people find themselves in places other than those that they originate from. While a strong case has been made in various disciplines for the experiences of alienation and disruption emanating from the politically tinctured notion of exile, this thesis argues that these experiences affect all émigrés alike, be it the consequence of forced or voluntary migration. It is this study’s aim to nuance the understanding of displacement and explore the ways in which the exile discourse informs a general, less extreme discourse of voluntary displacement with specific reference to the composer John Joubert and his opera Silas Marner. In the first chapter, displacement is theorized as a doubleness or ambivalence that is important in understanding creative work done by those who have been displaced and that is informed, in the South African composer’s case, by the relationship between the centre of ‘the’ art music tradition in Europe and Britain and its ‘peripheral’ practice in South Africa. The second chapter argues the ways that notions of nationality still inform thinking about composers and their aesthetic in a time that nationality is no longer a monolithic, stable denominator. This is done with specific reference to the composer John Joubert. In the third and fourth chapters, the focus narrows to Joubert’s opera Silas Marner (op. 31), and explores displacement as a theoretical paradigm for reading and studying of the opera. The third chapter discusses the choice of subject matter of the opera and the significance of Eliot’s novel as basis for an operatic text. Finally, the fourth chapter provides a brief analysis of the opera, its conception and reception history as well as a critical discussion of the ways in which notions of displacement is present in this work. / AFRIKAANSE OPSOMMING: In ‘n wêreld wat meer toeganklik as ooit tevore is, bevind mense toenemend hulself in plekke elders as waar hulle vandaan kom. Terwyl die konsep van ballingskap, met sy politiese konnotasies, al deur verskeie dissiplines bestudeer en geteoretiseer is, argumenteer hierdie tesis dat die gevoel van vervreemding en ontwrigting wat daaruit spruit deur alle emigrante beleef word, synde die gevolg van willekeurige of onwillekeurige emigrasie. Hierdie studie stel homself ten doel om die begrip van ontheemding te nuanseer en die verskeie maniere waarop die ballingskapdiskoers tersaaklik is vir ontheemding, te belig. Dit sal gedoen word met spesifieke verwysing na die komponis John Joubert en sy opera, Silas Marner (op. 31). In die eerste hoofstuk word ontheemding geteoretiseer as ‘n dubbelsinnigheid wat belangrik is in die verstaan van die ontheemde se kreatiewe werk. Die verhouding tussen die sentrum van ‘die’ kunsmusiektradisie in Europa en Brittanje en die ‘periferale’ beoefening daarvan in Suid- Afrika word as bydraend tot hierdie dubbelsinnigheid gesien. Die tweede hoofstuk argumenteer dat nasionaliteit nie meer ‘n eenduidige, stabiele aspek in die beskouing van musiek en musiekestetika verskaf nie en bedink die maniere waarop nasionaliteit steeds betrekking op musiekstudie kan hê. Dit word met spesifieke verwysing na John Joubert gedoen. In die derde en vierde hoofstukke vernou die fokus na Joubert se opera Silas Marner en word die wyses waarop ontheemding tot ‘n lesing van die opera kan bydra verken. Die derde hoofstuk behandel die keuse van onderwerp vir die opera en die belang van Eliot se roman as operateks. Die vierde hoofstuk bespreek die ontstaans- en resepsiegeskiedenis van die opera, analiseer die opera kortliks en verskaf ‘n kritiese bespreking van die wyses waarop nosies van ontheemding in die opera teenwoordig is.

Thesis (M. Mus.)--University of Stellenbosch, 2008. / ENGLISH ABSTRACT: 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. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem om die huidige musikale gebruike onder die jeug van die !Xun en Khwe San in Suid-Afrika te bestudeer. Dit het deel gevorm van die NNS projek, Mother’s Milk Mother’s Muse, wat die musiek van inheemse kulture wou bewaar. Dit is gedoen deur die musiek van die kinders op te neem tydens mini-feeste. Hierdeur is probeer om ‘n hernude belangstelling in die tradisionele musiekkultuur by die jeug te kweek. Die skrywer is in 2003 as projekkoördineerder vir die San by Platfontein, Kimberley aangestel binne die raamwerk van die Mother’s Milk Mother’s Muse projek. Dié projek het derhalwe die basis gevorm vir hierdie studie van die huidige stand van die musikale gebruike onder die jeug van die !Xun en Khwe San. Navorsing het by wyse van ‘n literatuurstudie en deelnemende aksienavorsing geskied. Algemene inligting van hierdie navorsingsmetodes word in die tweede en derde hoofstukke weergegee. Die wyses waarop die skrywer die navorsingsmetodes in haar eie studie toegepas het, word in die laaste hoofstuk bespreek. Onderwysers van die !Xunkhwesa skool op Platfontein is genader om hul hulp te verleen met die projek. Die onderwysers, wat elkeen die Kuns en Kultuurleerarea aan verskillende grade aanbied, moes vooraf sorg dat inligting van verskillende musiekitems op vorms ingevul moes word. In die tyd voor die mini-fees is die kinders dus uitgestuur om tradisionele liedere te gaan versamel en inligting daarvan in die klas te deel. Hierdie items is tydens ‘n fees in September 2005 opgeneem. Beskrywings en analises van die liedere word in hoofstuk drie weergegee. Ooreenkomste met die kenmerke van tradisionele San musiek asook met algemene kenmerke in Afrikamusiek word ook bespreek. Die gevolgtrekkings en voorstelle word in die laaste hoofstuk bespreek.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / In 1994 the first democratic election took place in South Africa. Since then large initiatives have been undertaken on national level to redress the inequalities of the past. One of these areas where drastic transformation was needed, is the education system of the country. A National Qualifications Framework was created and Outcomes Based Education was used to implement a new curriculum. This required a total paradigm shift of teachers in terms of how they thought about education as well as changes in their teaching practice. The learning area Arts and Culture was included in the new curriculum to provide all learners with equal opportunities to take part in and enjoy the arts, cultural expression and conservation of heritage as a basic human right. The learning area however brought about unique problems for the teacher, as it is multidisciplinary and most teachers were not trained to facilitate it. Initially it was given to teachers who were specialists in one or the other of the arts disciplines, but these teachers progressively left the education system, and since then the learning area has fallen into the hands of nonspecialists. The Department of Education has launched various training opportunities to empower teachers, but without much success. Teachers remain inadequately qualified regarding subject knowledge and skills to bring the learning area to fruition and to reach the goals of the curriculum. In the process learners are deprived of important opportunities for experiences in the arts and teachers become increasingly demotivated. Thus, in South Africa there exists a dire need for effective in-service training and professional development of Arts and Culture teachers in order to empower them to take their place in the unlocking and transmission of the spiritual goods of the human race to our youth. This study investigates the true problems of Arts and Culture teachers in South Africa by placing the process of transformation in the education system after 1994 into context and viewing Outcomes Based Education, the learning area Arts and Culture and the development of teachers through the looking glass. Three forms of training for teachers are compared to try and find a possible best way to address these problems and to determine whether effective in-service training of Arts and Culture teachers leads to professional development, empowerment, a more positive vocational disposition and motivation. Training on a one-to-one basis lead by a specialist teacher emerges as the most effective alternative form of training.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The Cape Performing Arts Board (CAPAB) was one of four regional government-funded councils established in 1963, with the mandate to promote and develop the Western performing art forms (opera, ballet, music and drama) in the four provinces of the Republic of South Africa. Although the Board, and more specifically, the Music Department, made a significant contribution to the development of the performing arts in the Cape Province over more than three decades, its history remains largely undocumented. Therefore, the main objective of this study is to provide an account of CAPAB’s music activities against an outline of the organisation’s general history. Included is a discussion of the Music Department’s most significant contributions: the Department’s role as an impresario; the extensive music education programmes presented in schools and rural areas; the promotion of home-grown talent and the major part played by CAPAB’s orchestra (1971-97) in facilitating the development of the Western performing arts in the Western, Eastern and Northern Cape. Inextricably linked to these topics are a range of both positive and negative factors which influenced the development of the performing arts in this context. These include the effects of the Apartheid government’s policies on the development of the arts; the Board’s reliance on, and claim to state funding; the controversial history of CAPAB’s state-of-the-art Nico Malan Theatre Complex; the Board’s attempts to rectify imbalances of the period prior to the political transformation in the early 1990s and the events leading to a new dispensation for the performing arts in a democratic South Africa. Since CAPAB’s demise in 1998, sufficient time has elapsed to allow for a more objective evaluation of its role. Therefore, this study concludes with a brief assessment of the legacy of the CAPAB’s 35-year existence, summarising its effect on classical music in South Africa as we experience it today.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Community music is at the innermost heart of any music society, yet its generally informal training structures have rendered it somehow second-class in the general view. South Africa‟s formal education structures have tended to favour the elite at the cost of those who are historically deprived, a pattern which developed centuries before the advent of legal Apartheid. This lack of official favour may be the source of the intensity of community music development in the Western Cape, a locus of cultural and ethnic diversity remarkable even in South Africa. Brass instruments, with their inherent portability and relative affordability, have been at the heart of much church music in the past two hundred years. For the Salvationists, the brass band has long been the „peripatetic organ‟ for use at services indoors or outdoors. For the German-related churches, the Posaunenchor, now a brass choir, fulfils many of the same functions. These and other informal structures like them tend to reproduce themselves by means of „apprenticeship‟ of novitiate players to experienced bandsmen. A substantial number of church-trained players have become professional in the context of military bands in the Cape and elsewhere in South Africa. Some have, with more formal training, become symphonic instrumentalists of considerable rank in South Africa. This dissertation sets out to describe the milieu from which brass-players have emerged when formal instrumental instruction has been unavailable to them. It describes past and current efforts to bolster and upgrade brass training for youth, and the ways in which this couples with social upliftment for youth. Perhaps most importantly, it furnishes information and tools for South Africa to join fully with international efforts to research the phenomena of community music and to better understand their significance.